[syndicate] "Holy Fire, Art of the Digital Age", Brussels, 18-30 April.

[Troudair]

and again :
http://www.fluctuat.net/blog/9941-Holy-Fire-le-net-art-est-il-soluble-dans-le-capitalisme-

troudair

2008/3/31, Yves Bernard <yb at imal.org>:
>
> Holy Fire. Art of the Digital Age
> April 18 - 30, 2008
> iMAL Center for Digital Cultures and Technology
> Brussels
> http://www.imal.org
>
> Featuring:
> Cory Arcangel (USA), Gazira Babeli (SL), Boredomresearch (UK), Christophe
> Bruno (FR), Grégory Chatonsky (FR), Miguel Chevalier (FR), Vuk Cosic (SLO),
> Shane Hope (USA), Jodi (BE/NL), Lab[au] (BE), Joan Leandre (SP), Olia
> Lialina & Dragan Espenschied (RU/DE), Golan Levin (USA), Eva and Franco
> Mattes aka 0100101110101101.ORG (IT), Alison Mealey (UK), Mark Napier
> (USA), Casey Reas (USA), Charles Sandison (UK/FI), Antoine Schmitt (FR),
> Yacine Sebti (BE), Alexei Shulgin & Aristarkh Chernyshev (RU), John F.
> Simon, Jr. (USA), Paul Slocum (USA), Wolfgang Staehle (USA), Eddo Stern
> (USA), Ubermorgen.com (AT), Carlo Zanni (IT)
>
>
> iMAL Center for Digital Cultures and Technology (www.imal.org) is proud to
> present Holy Fire. Art of the Digital Age, a collective exhibition featuring
> a unique panel of digital artworks created in the last ten years by
> internationally known new media artists, and coming from galleries and
> collections from around the world. Curated by iMAL director Yves Bernard and
> Italian curator Domenico Quaranta, Holy Fire is, in fact, featured into the
> "Off Program" of Art Brussels, the international contemporary art fair
> (April 18 - 21, 2008). Taking its cue from this occasion, Holy Fire is an
> attempt to explore how new media art, bypassing all the stereotypes
> connected with its presumed immateriality, was able to enter the art market.
>
> Thus, Holy Fire is probably the first exhibition to show only collectable
> media artworks already on the art market, in the form of traditional media
> (prints, videos, sculptures) or customized media objects. The exhibition
> wants to show that new media art is just art of this century, to contribute
> to reduce the gap between digital art and contemporary art, and to
> participate in a broader understanding and acceptance of digital media. Holy
> Fire comes out from the belief that talking about a "new media art" as
> something different and separated from the contemporary art world doesn't
> really make sense today. All contemporary art is, someway, new media art, as
> far as it makes use of the digital media for various purposes. So, the
> artworks collected in Holy Fire are not new media art, but simply art of our
> time: art which appropriates institutional or corporate identities, creates
> fictional ones, hacks softwares and game engines for its own purposes,
> infiltrates online or offline communities in order to portray them or their
> own myths, subverts existing tools or creates its own ones, explores the
> aesthetics of computation and information spaces; or, more simply, art which
> uses hardware and software in order to create art and speak about our time.
>
> Over the last two decades, new media art experienced an exponential
> growth, that changed it from a little and relatively closed niche of
> experimentation into one of the biggest and more vital communities of the
> contemporary scene, and into an entirely new "art world", with its own
> festivals, its own exhibition centers, its own magazines and debates. Yet,
> this increasing importance is hardly ever recognized in the contemporary art
> world, which is challenged by new media art in many ways. New media art is
> often immaterial, temporary, performative; it strongly relies on software
> and interfaces, and produce hardly sellable artifacts, with a high
> obsolescence risk in supporting equipment. So, it's always difficult to find
> new media art in contemporary art venues and collections. In the meantime,
> many artists are fighting to find more stable layouts for their works, in
> the effort to bring new media culture in the contemporary art arena; and
> some brave individuals and institutions are starting collecting new media,
> knowing that its importance in the future could only grow up. With the
> accelerated technological development (e.g. large flat screens, powerful
> beamers, ubiquitous computing, wifi, fast internet) and the sociological and
> cultural acceptance of digital tools and media, new media art is going to
> become one of the main currents of 21th century art, looking at its own
> nexus to our techno-environment as a strength (not deafness), and to be part
> of our everyday life in our office, in public buildings as well as in our
> home.
>
> The title of the exhibition is a reference to a well-known book by Bruce
> Sterling, a book which, among other issues, envision the art of the (at that
> time, future) digital age. In the same time, the issue makes reference to
> the passion that helps a growing number of people (artists, curators,
> gallery owners and collectors) to take care of an art that is temporary and
> variable by definition.
>
>
> Galleries:
>
> Bitforms, New York; DAM Gallery, Berlin; Fabio Paris Art Gallery, Brescia;
> Numeriscausa, Paris; Postmasters, New York; Project Gentili, Prato; Rodolphe
> Jannen Gallery, Brussels; XL Gallery, Moscow.
>
>
> Collateral Events:
>
> "Holy Fire: Exhibiting and Collecting New Media Art". Conference-debate
> Saturday 19 april, 11:30 - 13:30
> Art Brussels (Brussels Expo)
>
> One of the targets of the Holy Fire exhibition (iMAL, 18-30 april) is to
> take a snapshot of the present situation of New Media Art, an art practice
> arose from the meeting of art and computer technology in the Sixties. This
> practice developed into a self-built, parallel art system and had a second
> youth in the last half of the Nineties. New Media Art has always been
> described as process oriented, immaterial, and therefore un-collectable and
> un-preservable. Now getting to its adult age, it is entering the
> contemporary art world and market.
>
> Moderated by Patrick Lichty (Columbia College, Chicago) with Alexei
> Shulgin (RU), Olia Lialina (RU/DE), Steve Sacks (bitforms, New York), Wolf
> Lieser (DAM, Berlin), Stéphane Manguet (Numeriscausa, Paris), Philippe Van
> Cauteren (SMAK, BE), Domenico Quaranta (Brescia, I) and Yves Bernard
> (Brussels).
>
> Catalogue:
>
> Domenico Quaranta, Yves Bernard (eds), Holy Fire. Art of the Digital Age,
> FPEditions, Brescia 2008. Hardcover, color, 128 pages. ISBN
> 978-88-903308-4-1, 25.00 ¤
>
> Featuring contributions by: Inke Arns & Jacob Lillemose, Yves Bernard,
> Aristarkh Chernyshev, Roman Minaev & Alexei Shulgin, Vuk Cosic, Régine
> Debatty, Steve Dietz, Joan Leandre, Olia Lialina & Dragan Espenschied,
> Patrick Lichty, Wolf Lieser, Vicente Matallana, Eva & Franco Mattes aka
> 0100101110101101.org, Fabio Paris, Christiane Paul, Domenico Quaranta,
> Charles Sandison, Magdalena Sawon & Tamas Banovich, Paul Slocum, Bruce
> Sterling, Michele Thursz, Mark Tribe, Ubermorgen.com, Karen A. Verschooren.
>
>
> --
> Yves Bernard    yb at imal.org
> asbl iMAL vzw
> Center for Digital Cultures and Technology
> 30 Quai des Charbonnages / Koolmijnenkaai 30
> 1080 Bruxelles/Brussel
> tel 32 2 410 30 93
>
> http://www.imal.org
> http://www.erg.be/blogs/artNumeur
> http://www.i-cult.be
>
>
>
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