Bergen Center for Electronic Arts
7th International Conference on Digital Arts – Creating Digital e-Motions. Óbidos, Portugal, March 18-20, 2015
Call for Papers
ARTECH 2015 is the Seventh International Conference on Digital Arts, this time hosted by Universidade Aberta in the ancient village of Óbidos, Portugal. The goal of the conference is to promote the interest in the current digital culture and its intersection with art and technology as an important research field, but also as a common space for discussion and exchange of new experiences. Seeking to foster greater understanding about digital arts and culture across a wide spectrum of cultural, disciplinary, and professional practices, this edition of the conference also includes a strand concerned with mobile technologies such as smartphones and tablets that have become widespread creation instruments. To this end, we cordially invite scholars, teachers, researchers, artists, computer professionals, and others who are working within the broadly defined areas of digital arts, culture and education to join us.
Authors are invited to submit papers from all areas related to digital art, but also art installations, digital artefacts or media artworks, for review by an international committee. Both research and applications papers are of relevance to ARTECH 2015.
Topics of interest include (but are not limited to):
- Art and Science Theory
- Audio-Visual and Multimedia Design
- Creativity Theory
- Design and Visualization
- Digital Storytelling
- Digital Technologies and Making
- e-Learning in Art and Media Studies
- Electronic Music
- Generative and Algorithmic Art & Design
- Immersive Art
- Interactive Systems for Artistic Applications
- Media Art History
- Mobile Multimedia
- Web Art and Digital Culture
- Digital Media, Apps and eBooks
- Digital Preservation
- Parametric Design
- Tangible and Gesture Interfaces
- Technology in Art Education
- Virtual Reality and Augmented Reality
- 3D Environments
- Full paper submission: October 26, 2014
- Art installations, digital artefacts or media artworks’ proposals and short papers submission: September 30, 2014
- Full and short papers notice of acceptance: November 30, 2014
- Installations proposal notice of acceptance: November 30, 2014
- Submission full paper final version: January 31, 2015
- Early registration deadline: January 31, 2015
- Pre-conference workshops: March 18, 2015
- Conference: March 19-20, 2015
Søren Andreasen will hold an Arduino workshop at BEK Monday 29. September – Friday 3. October. The workshop fee is 500,- NOK. Join by mailing us at bekatbekdotno
Beginners and those who need to brush up on the very basics, get a brief introduction to hardware KITs and the Arduino software Monday 29. and Tuesday 30. September between 16.00 – 21.00
Wednesday 1. – Friday 3. we follow up those who have a little experience with Arduino before and those who have their own projects they need help to get on with. Søren will also bring a proposal for a project for those who need some startspray. For this he use some solenoids, servo motors and a bunch of nobs and lights for you to work on. Wednesday and Thursday we also start at 16.00 and keep it going until we’re eighter finished or excausted, or both. Friday we sum up from 16.00 – 18.00.
This workshop costs 500,- NOK. For this you get a starting KIT and some things to work on (worth the workshop fee). If you need to use servos and solenoids, you pay the actual costs if you want to take them with you after the cource. You need to bring your own laptop. And it would be nice if you bring some power supplys (5 – 36 V) or some toy instruments or other electronic toys.
Workshop holder is Søren Andreasen, http://sorenandreasen.com
He did a similar workshop at BEK last year.
Join by mailing us at bekatbekdotno
Spread this information happily on to those you think might be interested.Time and place:
- BEK - 29/09/2014 to 03/10/2014
Ambisonic Toolkit for Reaper is now available as a public beta. While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging.
The ATK toolset in intended to be both ergonomic and comprehensive, framed so that the user is enabled to ‘think Ambisonic’. By this, the ATK addresses the holistic problem of creatively controlling a complete soundfield, facilitating spatial composition beyond simple placement of sounds in a sound-scene. The artist is empowered to address the impression and imaging of a soundfield — taking advantage of the native soundfield-kernel paradigm the Ambisonic technique presents.
ATK has previously only been available for public release via the SuperCollider real-time processing environment. Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model.
Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper. Several of the plugins, in particular the transforms, offers intuitive graphical user interfaces that helps visualise the effect of the various transforms. The plugins work with all operation system and processor versions that Reaper supports. On the Windows platform the plugins can also be used with other VST-hosts by means of the ReaJS ReaPlug plugin.
The ATK toolset has been been gathered, authored and developed by Joseph Anderson over a number of years, and is now a collaborative open source project. The port of ATK to Reaper has been done by Trond Lossius of BEK, Bergen Center for Electronic Arts.
A paper on ATK for Reaper by Trond Lossius and Joseph Anderson will be presented at the upcoming joint ICMC | SMC conference in Athens. If you are attending the conference, please drop by during the poster session next Thursday!Time and place:
- BEK - 12/09/2014 to 30/09/2014
The upcoming version 0.6 of Jamoma enables model-view-controller separation in Max. The novel features that Jamoma 0.6 enables will be presented in a paper at the joint ICMC|SMC|2014 Conference in Athens, Greece. A demo session will further exemplify the many benefits of MVC separation in Max using Jamoma 0.6.
T. Lossius, T. de la Hogue, P. Baltazar, T. Place, N. Wolek & J. Rabin (2014): Model-View-Controller separation in Max using Jamoma. Proceedings of the joint 40th International Computer Music Conference & 11th Sound and Music Computing Conference, Athens.
T. Lossius, N. Wolek, T. de la Hogue & P. Baltazar (2014): Demo: Using Jamama’s MVC features to design an audio effect interface. Proceedings of the joint 40th International Computer Music Conference & 11th Sound and Music Computing Conference, Athens.
Alpha versions of Jamoma 0.6 are currently available.
Paper: Model-View-Controller separation in Max using Jamoma
by Trond Lossius (BEK), Theo de la Hogue (GMEA), Pascal Baltazar (L’Arboretum), Tim Place (74objects LLC), Nathan Wolek (Stetson University) and Julien Rabin (GMEA)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in 1.Demo: Using Jamama’s MVC features to design an audio effect interface
by Trond Lossius (BEK), Nathan Wolek (Stetson University), Theo de la Hogue (GMEA) and Pascal Baltazar (L’Arboretum)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed.
The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in 1. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
Jan Schacker, Chikashi Miyama and Trond Lossius will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents recent development of a `libspatdif’ C/C++ software library for SpatDIF, the Spatial Sound Description Interchange Format, as well as prototype implementations in Max, Pure Data and OpenFrameworks making use of the library.
by Jan C. Schacher (Zurich University of the Arts Institute for Computer Music and Sound Technology ICST), Chikashi Miyama (University of Music, Cologne Studio for Electronic Music) and Trond Lossius (BEK).Abstract
The development of SpatDIF, the Spatial Sound Description Interchange Format, continues with the implementation of concrete software tools. In order to make SpatDIF usable in audio workflows, two types of code implementations are developed. The first is the C/C++ software library `libspatdif’, whose purpose is to provide a reference implementation of SpatDIF. The class structure of this library and its main components embodies the principles derived from the concepts and specification of SpatDIF. The second type of tool are specific implementations in audio programming environments, which demonstrate the methods and best-use practices for working with SpatDIF. Two practical scenarios demonstrates the use of an external in MaxMSP and Pure Data as well as the implementation of the same example in a C++ environment. A short-term goal is the complete implementation of the existing specification within the library. A long-term perspective is to develop additional extensions that will further increase the utility of the SpatDIF format.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
Trond Lossius and Joseph Anderson will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents a port of the Ambisonic Toolkit as a series of plugins for the Reaper DAW. ATK for Reaper brings both a comprehensive composition workflow model, the sound-field sound-image paradigm, and a set of versatile tools for working with Ambisonics to the DAW environment.
by Trond Lossius (BEK) and Joseph Anderson (DXARTS, University of Washington)Abstract
While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging. These tools have previously only been available for public release via the SuperCollider real-time processing environment.
Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model. Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper; these include intuitive graphical user interfaces.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
You can enjoy works by 4 different artists at BEK this weekend. We are open both Saturday and Sunday 12 – 16, and exhibit Stian Remviks multi-animation Naboer, 3 works-in-progress by Birk Nygaard, documentation of works by Marieke Verbiesen, and we also show Elisabeth Færøy Lunds music video The Clinch.
If you’re out enjoying the Bergen Kulturnatt on Friday, you can visit us from 6PM for a sneak peek.
- BEK - 13/09/2014 12:00
- BEK - 14/09/2014 12:00
V2_ presents an e-book about the art project ‘The Iron Ring’ by Cecilia Jonsson. With an extensive visual essay reporting on the seven chronological steps that were required to create an iron ring out of 24kg of grass harvested from the acidic river banks of a landscape in Spain severely transformed by opencast mining, and a text discussing the project from an environmental-philosophical perspective.
Call for papers: International Conference on the Multimodal Experience of Music
ICMEM, 23-25 March 2015
In live and virtual situations, music listening and performing are multimodal experiences: Sounds may be experienced tactically, music evokes visual images or is accompanied by visual presentations, and both generate vivid cross-modal associations in terms of force, size, physical location, fluency and regularity, among others.
ICMEM aims to bring together researchers from various disciplines who investigate the multimodality of musical experiences from different perspectives. Disciplines may include among others audiology, cognition, computer science, ethnomusicology, music performance and theory, neuroscience, philosophy, and psychology.
Proposals are invited for papers, symposia, demonstrations and posters. Investigations may include but are not necessarily confined to the following areas
- Multimodal experiences of music in everyday life
- Cross-modal correspondences with musical parameters
- Influences of visual context on music perception
- Emotion and cross-modality
- Tactile, visual, and kinesthetic feedback in music performance
- Multi-modal interaction in multimedia, including film and games
- Uses of cross-modality in hearing or visual impaired music listeners
- Strong and weak synaesthesia
- Motion and movement perception in music
- Relations between motion and emotion in music listening
- Brain-structures related to cross-modal associations with sounds
- Technological and commercial applications of cross-modal associations
- Creative and pedagogical uses of cross-modality in music
Invited speakers: Profs. Amir Amedi, Eric Clarke, Nicholas Cook, Charles Spence, and Peter Walker
Dates: 23-25 March 2015
Location: Humanities Research Institute, University of Sheffield, UK
Host: Music, Mind, Machine in Sheffield, Department of Music, University of Sheffield, UK
Submission deadline: 6 October 2014 by e-mail to ICMEM@sheffield.ac.uk
Further information: www.sheffield.ac.uk/music/research/mmm/icmem
This conference is supported by ESCOM and SEMPRE, who offer bursaries to student attendees, and by the British Academy.
Due to our participation at alt_cph the booking of equipment and rooms will e closed from Wed 3. until Thu. 9 Sept.
The composer and musician Benjamin Thigpen is currently artist in residency at USF. In addition to electroacoustic composition, he performs live as an electronic musician. On September 2 Rust (Jean-François Laporte and Benjamin Thigpen) will give a concert and post-concert presentation at the Landmark, in Bergen. The will use and discuss the new instrumental configurations that they have been developing over the past year. BEK supports the residency. The concert is organised by Ny Musikk Bergen.
In addition to electroacoustic composition, I perform live as an electronic musician, primarily in the context of two duos – Rust, with Jean-François Laporte and Les Frères Bobine, with Stefano Bassanese. For these musical activities I construct my own electroacoustic instruments.
“Les Frères Bobine (Benjamin Thigpen and Stefano Bassanese) use inductors, coils, small metallic objects, amplifiers and computers to generate silent magnetic feedback loops. These “electromagnetic oscillators” are our instruments – at once material and virtual, digital, analog and acoustic. Through continual gestural control, we interact with them and influence them, without seeking total control. They behave like natural process, producing sounds that are fascinating, unpredictable and organic."
“Rust consists of Jean-François Laporte and Benjamin Thigpen playing newly-invented instruments – acoustic, electronic or electroacoustic. Since 2013, we have been developing our instrumentarium in a new direction. These configurations consist of numerous “prepared” piezoelectric contact microphones which are manipulated manually in conjunction with various vibrating objects and which are also brought into contact with small speakers and “exciters.” The signals produced in this way pass thru the computer where where the sound is further magnified and enriched. What results are complex fields of short-range acoustic feedback, an immersion in the materiality of sound, direct contact with vibrational energy, a sonic experience that is organic, physical, visceral – at times delicate and subtle, a times overpowering and extreme."
I am currently devoting a three-month artist’s residency at AIRBergen to the development of these two overlapping, intersecting instrumental configurations: soldering, building, exploring, experimenting, researching… It is a fantastic opportunity to systematically and methodically develop these instruments: giving all the time necessary to each element of the chain, moving gradually towards a setup that is ergonomic, portable and musically rich – varied, controllable (at least up to a point!) and fluid. It has become increasingly clear to me that this development will continue for many years, but here in Bergen I am laying a solid foundation for everything to come.
During this residency, the support of BEK has been incredibly helpful! Much of what I am doing would be much more difficult or totally impossible without the open access to the space and use of the tools.
Benjamin Thigpen, nomad, born in the United States, with degrees in English Literature, Comparative Literature and “Esthetics, Technologies and Artistic Creations,” immigrated to Paris at the age of 31. Since then, he has composed at GRM (Paris), at Musiques et Recherches (Belgium), at SCRIME (Bordeaux), at EMS (Stockholm), at the Visby International Centre for Composers (Sweden), at STEIM (Amsterdam), at Djerassi (California), at l’Espace Totem (Montreal), in his bedroom and in the train.
After 6 years at Ircam (Paris) and 7 at the Conservatory of Cuneo (Italy), he currently teaches computer music and (psycho)acoustics at Arts2 (Mons, Belgium), while also working as a free-lance programmer and musician.
He makes music for loudspeakers: electroacoustic works (composed on electromagnitic support); pieces for live computer performance; interactive music for computer and acoustic instrument(s); computer improvisation. His music is concerned with issues of energy, density, complexity, movement, simultaneity and violence, and he often works extensively with space as a primary compositional parameter. He thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but the art of the transcendence of sound.Time and place:
- AIR Bergen, USF - 01/07/2014 to 29/09/2014
- Ny Musikk Bergen, Landmark - 02/09/2014 21:00
Den 31.august arrangerer Skånes Konstforening et seminar som anbefales. Er du i nærheten-‘anmäl dig’! Skånes konstförening ligger i
Bragegatan 15 i Malmö.
(by Trond Lossius)
Over the past 1 1/2 year I have gradually been porting Ambisonic Toolkit by Joseph Anderson et. al. to a set of JS FX plugins for Reaper. ATK for Reaper consists of a number of plugins for encoding, transforming and decoding FOA sound fields, and contain several functionalities that to the best of my knowledge are not available in existing plugin suites for FOA.
Me and Joseph have been writing a paper on the subject that will be presented as a poster at the upcoming joint ICMC / SMC conference in Athens. I’d like to have an initial release of ATK for Reaper available for download by the time of the conference, but before letting it out in the wild, it would be useful to have some beta-testing in order to ensure that there are no obvious malfunctions, omissions or bad interaction design decisions in the first release. Hence I’m looking for a few beta testers to give some initial feedback on the plugin suite.
I have made an installer for OSX that should make it easy to get up and going. For Windows installing currently will require a bit of manual copying into the correct folders. I have not tested the plugins on Windows myself yet, but as it is all based on the JS FX scripting language, I would expect them to work the same there as on Mac. On Windows it would also be possible to test them with other VST hosts using ReaPlugs.
In particular I’m looking for feedback of the type:
- “This seems to work well”
- “This is just not working”
- “This is just plain wrong”
- “This is really nice and intuitive”
- “This is not intuitive at all”
- “I have a suggestion for an improvement: …”
Initial reactions to the plugins are particular useful, as the first reaction to user interfaces are often quite informative in terms of how the user interaction design works (or not).
If you are (1) a regular user of Reaper, (2) have prior experience with first order ambisonic, and (3) have the interest and some available time over the next two weeks for testing and providing feedback, please contact me. If you have prior experience with ATK for SuperCollider, that would be useful as well. Please also provide me with information on what OS you are using.
And if you have prior experience with building installers for Windows that would be particularly useful, I might need some help when attempting to solve this one.
Anders Elsrud Hultgreen’s circular film Evighetens Avkom (eng. title: The Perpetual Progeny) will be screened at a cabin in the woods of Ceresole Reale, Italy (50 kilometres northwest of Turin) – The screening is curated by Daniela Arriado & Mirjam Struppek of Screen City Festival.
The film is commissioned by BEK.
Here is an excerpt from the film
- Ceresole Reale, Italy - 23/08/2014 19:30
- Ceresole Reale, Italy - 24/08/2014 19:30
- Ceresole Reale, Italy - 30/08/2014 19:30
- Ceresole Reale, Italy - 31/08/2014 19:30
In cooperation with the Belgium label Seismographic Fabric we launch the album ‘frihet, samspill, isolasjon’ with contributions from Sigbjørn Apeland, Kris Delacourt, Espen Sommer Eide, Knut Vaage, Anne Marthe Dyvi, Signe Lidén and Dag-Are Haugan. The record is a double vinyl with cover by artist Jochem vanden Ecker.
Platelansering på Fjellhytten på Fløyen 14.juni 2014, kl. 19 (fløibanen avgang kl. 18). Lett servering og fjellluft inkludert. Ta med egen drikke. Aktivitetsprogram annonseres senere.
Juni 2011 arrangerte BEK – Bergen senter for elektronisk kunst, den andre utgaven av Rad i Våge, Kvinnherad. Arrangementet fant sted i komponisten Knut Vaages hytte. Hytta er et sted hvor Vaage komponerer musikk i isolasjon. Den er plassert på familiegården, der hans bestefar, bonde og poet Ragnvald Vaage, skrev dikt, noveller og romaner i begynnelsen av det 20. århundre. Rad #2 inviterte et utvalg musikere, kunstnere, publikum og flått, som improviserte sammen og tilbrakte natten i hytta og i medbrakte telt, lavvoer, småbåter og bobiler. Rad #6 er basert på en serie opptak av Rad #2.
Rad is a series of singular events curated by Espen Sommer Eide and Anne Marte Dyvi. This Rad #6 album is based on recordings from the event Rad #2, where artists and audience huddled in the cabin of composer Knut Vaage, a night in June, 2011.
BEK, Bergen Center for Electronic Arts, is a national resource centre for work within the field of arts and new technology.Time and place:
- Fjellhytten - 14/06/2014 19:00
Ved Høgskolen i Oslo og Akershus er det fremdeles noen ledige studieplasser på Masterstudiet i estetiske fag ved den nye studieretningen Kunst i samfunnet. Studieretningen er sentrert rundt formidling, prosjektutvikling, organisering, kuratering, kulturelt entreprenørskap og kunstkritikk.
The prog black metal band Enslaved and multi-percussionist Ole Hamre has been commissioned to write a new work for The Tall Ships Races 2014 Bergen. They will perform from the front deck of Statsraad Lehmkuhl Saturday evening, and the concert involves the participation of many of the ships at the harbour.
BEK has developed the technology that enables communication between the musicians and the boats.
As Ole Hamre plays the keyboard, an application developed in Max sends OSC messages to a server at BEK. A server-side application, also developed in Max, receives the messages, and updates a number of web pages accordingly. Each of the boats is provided with a link to a web page that provides them with instructions about when to blow the horn.Time and place:
- Fisketorget/Statsraad Lehmkuhl, Bergen - 26/07/2014 21:30
1 installation – 6 stories
Then she looks her in the eye. Everything stops. Before time began again. From a sullen restraint and cool exterior, she finds herself in chaos.
Bjorn Holbakken exhibition Innerst is an installation consisting of six paintings.
Each painting is associated with a short story, each painting has its own story. The stories offers us a glimpse into the nature of man when they meets themselves. The exhibition consists of paintings, sculpture, trash , video and text. Musician and artist Katy Penny has made a sound backdrop and will also be contributing with a musical performance at the opening. The performance has been composed especially for the occasion . Bergen Center for Electronic Arts – BEK, has contributed with technical solutions.
Bjorn Holbakken studied at the Art Academy in Bergen and has had a long career as a ceramic artist. In recent years he has moved from clay over to canvas, in addition to working with installations . This is the fifth time that Holbakken has exhibited at Gallery VOX .
The exhibition opens May 15th at . 17 , with performances by Katy Penny , accounting for 7 June.
NOTE : The Gallery is closed on 17 and 29 May.
Welcome to Gallery VOX . Strand Street 223, 5004 Bergen
- Galleri Vox - 15/05/2014 to 07/06/2014
Cornelia Glitsch (Foto) og Hans Christian van Nijkerk (Video/Lyd)
Utstilling på BLOKK – 01-03. august 2014.
Åpning: 01. august kl 20:00.
Utstilling på BLOKK – 01-03. august 2014.
Åpning: 01. august kl 20:00.
Utstillingstittelen er et sitat fra Alan Lightmans essay “Prisoners of the Wired World” hvor han reflekterer over hvorfor han ikke lenger sløser med tid. Utstillingen er det første samarbeidet mellom Cornelia Glitsch og Hans Christian van Nijkerk. De oppdaget at enkelte av deres arbeider lå innenfor samme grunntone, estetisk og tematisk. Begge kunstnerne er opptatt av oppmerksomhet og evnen til å finne og dvele ved noe. De liker å ha en nysgjerrig og lyttende tilnærming og ser verdien i å øve seg i tålmodighet og følsomhet. Derfor tiltrekkes de gjerne av situasjoner, ting og steder der det tilsynelatende skjer lite, men der noe allikevel griper dem.
Lydsporet, komponert og spilt inn av Hans Christian, er inspirert av ambient musikksjangeren (jf. Brian Eno, Boards of Canada m.m.). Ambient musikk vektlegger tone og atmosfære fremfor tradisjonell oppbygning eller rytme og er “ment til å gi ro og et rom å tenke i.” (fra heftet til Brian Enos Ambient 1: Music For Airports.)
Cornelia Glitsch (f. 1976) har bachelor fra KHIB og har de siste årene levd av sesongarbeid som kirkegårdsgartner og brukt vintrene til egenstudier og kunstprosess med interesse for blant annet langsomhet. Foto er et av hennes nærmeste uttrykk; det har vært med lenge og er det hun bruker mest kontinuerlig. Andre uttrykk hun har jobbet med er performance, sang, lyd og stedsspesifikke verk.
Hans Christian van Nijkerk (f. 1982) er en norsk/nederlandsk billedkunstner, performer og musiker bosatt i Bergen. Han tok sin bachelor i samtidskunst i Tromsø. Hans Christians primære uttrykk er performance, såvel live som videobasert. Videre jobber han med musikk, lyd, foto, tekst og installasjon. I arbeidene sine utforsker Hans Christian – gjerne med humor – tematikk som publikum, kommunikasjonsteknologi, grådighet, begjær, minner, forgjengelighet og død. Hans siste til dels autobiografiske hovedprosjekt omhandler konkurranse og friidrett.
Han har opptrådd på og stilt ut i bl.a. Silverlens Gallery (Singapore), NNKS (Svolvær), Small Projects (Tromsø), NM i poesislam (Oslo) og Dansens Hus (Oslo).
Utstillingen er støttet av BEK.
- BLOKK - 01/08/2014 to 03/08/2014
Beginning this autumn, Rhizome and Beijing-based TASML and CAT/CCIA will award a substantial new prize for internet art.
The “no strings attached” prize, which will be awarded three times in total in 2014, 2015, and 2016, will recognize the past work and future promise of one artist making outstanding work on the internet. The awardee will receive $10,000; a second distinction award of $5,000 will also be made each year.
To us, the prize feels timely. It celebrates the current moment of internet art and looks ahead to its future. As many artists have won international acclaim for work that tackles technology as subject matter through media forms of long standing—sculpture, installation, and painting—internet art remains less recognized, less supported. This prize gives a boost to those who continue to make art on the internet, and emphasizes the unique cultural importance of such work.
We’re thrilled to work with our partners to acknowledge significant internet artists who continue to be committed to working online, who have inspired us in the past, and whose best work still lies ahead.
Deadline for nominations: August 31, 2014. Please see full information about the prize on http://www.prixnetart.org.