A series of thirty pen and ink caricatures of writers who influenced me by the age of thirty.“It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.”– James Baldwin.
Debatable Land(s) is the latest chapter of the long-term, research-based art project Fleeting Territories, resulting from the project Mapping Malta I- II, which took place in 2018. In the connection of the two actually opposing terms “fleeting” and “territory”, the Fleeting Territories project series see spatial coordinates not simply as stable or fixed values, but rather as aiding in the identification and negotiation of [in]visible mechanisms, which in turn organise and shape cities, land[scapes], human and more-than-human interconnections. Rights, laws, politics, and economies, as well as emotions play a central role in the appropriation of territories.By forming temporary collectives and performative forums, Fleeting Territories ask questions such as which materialities and regimes of spatial concepts can be identified, and which artistic tools can be employed to measure and experience them.The project’s findings will be presented in Malta in October 2021.
We are offering a collection of 5555 NFTs for individual sale. Among these works are the 16 originals that can be seen here on the site. The remaining 5539 works are collectibles that our script has made based on the originals. The sale of the individual works takes place covertly – anyone who buys an NFT does not know beforehand which one it is. Exactly 24 hours after the sale, you will find out which work you have bought. Then you can keep it or sell it on OpenSea. The price per NFT is 0.05 ETH (Ethereum).
Alle NFTshavewesucceededinbuyingthegoldenvisayet.gifvon !MEDIENGRUPPE BITNIKZum Salehavewesucceededinbuyingthegoldevisayet.gifby !MEDIENGRUPPE BITNIKhavewesucceededinbuyingthegoldevisayet.gif is a HQ 4K Status GIF. The current status is No. The GIF will be exchanged to Yes in the smart contract as soon as the Golden Visa is secured.havewesucceededinbuyingthegoldevisayet.gif is part of a series of NFTs by artists to help secure Golden Visas for refugees via the European residency by investment schemeCredits:Photo from Refugee Camp in Lesbos by Milad E.Graphics support by Rahel Arnold, Zurich”NO!” font animation uses blotter.js library https://blotter.js.org/
Gravity is a dual concept. In physics, it is a force of attraction, yet it is weak enough to not change the property of matter. It controls bodies in space, and binds them to the Earth, where it bestows them weight. Gravity is the condition we live in as human beings, regardless of our ethnicity, gender and cultural background; it also relates to our own bodies and the relationship with others. As such it is a common denominator, as physical as symbolic, sometimes both at the same time. In fact, without gravity, our bodies would be overpowered by other forces of nature, which would make drift inevitable and life as we know it impossible. In a way, gravity is both a form of physical resistance among peers and a frontier with alien energies and lives. Here, it is the point of departure for an exploration of the body and its meanings, in a society where striving towards the infinite possibilities of humankind leaves a profound gap with actual experience and the uncertain reaction to the many limits and setbacks we face. In this time of polarized disorder and public health emergency, where governments oscillate between dramatic containing measures and strategies designed to shore up capitalism, an exhibition titled Gravity is also a call to face the urgency of this momentum, condemn the hubris of anthropocentrism that brought us to this point, and peek behind the veil of false idols.
#purplenoise is an interdisciplinary technofeminist research group that uses real-life events to explore social media as the arena for protest and large-scale political manipulation. The research methodolody includes intervention, infiltration, manipulation, technofeminist propaganda, poetry, fake news, love, and anger.
Elektronika is a project which was launched last February, and aims to develop a historiography of electronic music in Malta. During this summer, Elektronika will enter into a new stage with a series of oral history sessions by which the development and evolution of the electronic music scene in Malta will be explored.The first of such sessions will be called: ‘Session 1: Evolution (focus on the DJ era)‘. Michael Bugeja who is this project’s research co-ordinator will be interviewing four of Malta’s pioneering dj’s in the electronic music scene: Coco, David Dee, Brian James and Owen Jay. The session will be followed by a 1 hour dj set from ‘Tres Moody’ which is a project consisting of David Dee, Brian James and Owen Jay.
To compensate for the real life events that we are all missing so much, the VideoVortex community gathers during a hybrid event that happens both online and in the courtyard of John Cabot University in Rome. Organized and hosted by Donatella Della Ratta and Albert Figurt (in Rome) and Andreas Treske and Geert Lovink (online), we will switch between a conversation robot, Zoom, a drone and the obligatory online video screening in an experimental setup that will try to beat the overall online fatigue. Remember Malta, let’s bring on new VideoVortex gatherings! In the meanwhile, let’s preserve the spirit, see you all thereWhat is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smart phone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around — prove to others that you exist! Founded in 2007 by the Amsterdam Institute of Network Cultures, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers that deals with all the facets of both politics and aesthetics of online video.
The location and architecture of Haus der Statistik demonstrates the two-sided nature of the science of cybernetics: On the one hand, the potential of a new organizational model, and on the other, the risks associated with its use as a powerful instrument for surveillance and control. These ambivalent uses of cybernetics are explored in examples from the socialist political regimes of the past as well as the capitalist network society of today. A second focus of the symposium is the consideration of netart and its aesthetic expressions that reflect the cybernetic conditions of the internet, while also being dependent on them.
David Claerbout participated in The Eye of The Storm – Blitz’s first online exhibition, part of the new online initiative OPEN – with Oil workers (from the Shell company of Nigeria) returning home from work, caught in torrential rain (2013). In this artwork, Claerbout deployed 3D and new media technology in order to turn a photographic instant into endless repetition and confront visual perceptions, yearning for change and hope. As the act of waiting unfolds into an existential, cyclical condition rather than a one-time event, the artwork becomes the perspective from which to examine productivity and capitalism in relation to the workers and ourselves, even more now that the Covid-19 pandemic has altered our sense of the passage of time.David Claerbout focuses primarily on photography, video, sound, drawing, and digital arts, as well as large-scale video installation. In his works, the reconfiguration of images bestows a socio-political weight while questioning at the same time sensory authenticity and the now-disappearing system of trust between reality and its representation. The conversation will focus on Oil workers (from the Shell company of Nigeria) returning home from work, caught in torrential rain (2013), the evolution of Claerbout’s practice since, and his seminal text The Silence of the Lens (e-flux journal, 2016).******David Claerbout (Belgium, 1969) studied at the Nationaal Hoger Instituut voor Schone Kunsten in Antwerp from 1992 to 1995 and participated in the DAAD: Berlin Artists-in-Residence program from 2002 to 2003. Claerbout’s work is included in major public collections worldwide, including: Centre Georges Pompidou Musée National d’Art Moderne, Paris, France; Pinakothek der Moderne, Munich, Germany; Art Gallery of Ontario, Toronto, Canada; The Museum of Contemporary Art, Los Angeles, USA.; Walker Art Center, Minneapolis, USA; Hirshhorn Museum and Sculpture Garden, Washington D.C, USA; S.M.A.K, Ghent, Belgium; The Margulies Collection, Miami, Florida, USA; Walker Art Center, Minneapolis, Minnesota, USA; Collection François Pinault, Italy; FRAC Nord Pas de Calais, France; Galerie Neue Meister, Dresden, Germany; GAM Galleria D’Arte Moderna et Contemporanea, Turin, Italy and many others. He has been the subject of numerous solo and group exhibitions internationally, including: MAST Foundation, Palazzo Zambeccari, Bologna, Italy (2019); Les Abattoirs, Toulouse, France (2018); Talbot Rice Gallery, University of Edinburgh, Scotland (2018); Kunsthaus Bregenz, Austria (2018); Musée des Beaux-Arts, Rennes, France (2017); Museu Nacional d’Art de Catalunya, Barcelona, Spain (2017); Schaulager, Basel, Switzerland (2017); BOZAR, Brussels, Belgium (2017); Contemporary Art Museum, Tampa, Florida, USA (2016); De Pont Museum of Art, Tilburg, Netherlands (2016); Städelmuseum, Frankfurt, Germany (2016); MAMCO, Geneva, Switzerland (2015); Staatsgalerie Stuttgart, Germany (2015); 19th Biennale of Sydney, Australia (2014); 8th Busan Biennale, South Korea (2014); Kunsthalle Mainz, Mainz, Germany (2013); Secession, Vienna, Austria (2012); Tel Aviv Museum, Tel Aviv, Israel (2012); SFMOMA, San Francisco (2011); WIELS, Brussels, Belgium (2011); De Pont museum of contemporary art, Tilburg, The Netherlands (2009); Pompidou Center, Paris, France (2007); Kunstmuseum, St. Gallen, Switzerland (2008); and Van Abbemuseum, Eindhoven, The Netherlands (2005).