The foundation supports creative processes that encompass all cultural and artistic expressions or manifestations understood from a wide point of view.
They are looking for new artistic creations addressing the impact that Covid-19 is having on Catalan society and the challenges arising from it.
The artwork must have a clear transformation goal and must be developed in the public space, also incorporating a digital alternative to face possible new periods of lock-down.
Creators with a minimum career of two years and with residence in Catalonia are encouraged to submit their proposals.
One scholarship will be awarded per project and creator. Several creators cannot present the same project to be developed within the framework of a group.
All projects will be scrutinized during the month of September. The development process will take place between October 2020 and January 2021.
At the end of January the artists will be required to present a memoir reflecting the process and the creative proposal.
Until the 31st of July and from August 24 to 31 there will be a dedicated phone line for any arising questions: +34 932 090 948. The foundation can also be reached via email.
The unprecedented rate of global warming is melting the polar ice caps, raising sea levels and undermining food and water security for many of the world’s people.
The response to this situation is being too slow for what is probably the greatest challenge that the human species has ever had to face. In this global climate emergency situation it is necessary to raise awareness and act collectively to find solutions that can at least slow down the current climate change to avoid the foreseeable dystopian future that lies ahead.
In this context, this call raises the need to think collectively from art, science, technology, video games and ecology to raise awareness and articulate responses to climate change.
Through the composition of knowledge and interdisciplinary collaboration, this call proposes to use the capacity of contemporary art and the practices of visualization as a vehicle to raise awareness and propose responses that address the challenge of climate change and global sustainability.
– €1500 in fees, to which the applicable taxes will be applied.
– €1250 for production of the project selected subject to approval of its budget.
– €1080 for travel expenses.
From July 1, 2020, the call for artist residencies of the Planeta Debug Project is officially opened. Check the open call guidelines.
The 2020 year theme reflects upon our primitive status in the foundations of the new hyper-informational world, where the data-flux is absorbing the entire existence reaching the status of God.
Is technology serving us or we are serving the data-totem by providing our more sensible information, giving up our privacy for a greater good?
Algorithms, already present everywhere in the digital realm, are reading us better than ourselves, better than our friends and siblings and in the name of optimization of our virtual experience, we are gradually letting them make decisions for us, filter our perceptions predict our behavior, our bio metrics, our emotions.
All manifestations of culture can now be experienced on a digitized basis, translated to a language (code, DNA) and stored for everyone who possess it to experience regardless the circumstances. Markets and Money are transfiguring into intangible algorithmic byproducts. Everything to serve the information flow.
The post ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE appeared first on Audiovisualcity.
Refik Anadol immersive installations allow us to leap into an universe of data, featuring a matrix that swallows everything around until there is nothing left outside of it.
His overwhelming data sculptures foresee a post-digital architectural future in which there are no more non-digital realities. A world where man and machine are embedded within each other.
One of the greatest eighteenth-century English artists William Blake famously said, “if the doors of perception were cleansed, everything would appear to man as it is – infinite.” Infinite Space is a collection of works that revisits Blake’s statement and seeks to cleanse the doors of perception with the tools available to twenty-first-century artists.
The exhibition explores memories and dreams through the mind of a machine by using data sets ranging from human memories, photographs of Mars, cultural archives and sea surface activity as data sculptures and digital paintings.
The post INFINITE SPACE – Miami Artech House: 13 June – 6 September 2020 appeared first on Audiovisualcity.
She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).
In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.
Her latest project can be found on Vimeo (below).BUY US A COFFEE?
The Emerging Digital Artists Award (EDAA) is Canada’s award for critical experimentation in digital media. The award consists of $5,000 for the winner, and $1,000 for four finalists, as well as a group exhibition.
Since 2015, the EDAA has been promoting artists working within virtual space, by seeking submissions that push us in new directions, and challenge us to see the world through a different screen.BUY US A COFFEE?
Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.
Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.
The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.
At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.
We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…
It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.
They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.
Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.
“The importance of concept is key; you must start with your concept and then chose the technology to match”Hayley Cantor
No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.
While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.
Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.
The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.
In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.
In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.
Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.
Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.
The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.
Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.
For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:
• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.
• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.
• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.
• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.
• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.
• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.
As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.
This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.BUY US A COFFEE?
The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.
teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world.
teamLab aims to explore the relationship between the self and the world and new perceptions through art. In order to understand the world around them, people separate it into independent entities with perceived boundaries between them.
teamLab seeks to transcend these boundaries in our perception of the world, of the relationship between the self and the world, and of the continuity of time. Everything exists in a long, fragile yet miraculous, borderless continuity of life.
teamLab’s works are in the permanent collection of the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; National Gallery of Victoria, Melbourne; and Amos Rex, Helsinki.
From the release: Sept. 4, 2018, New York, London—Award-winning animation studio Golden Wolf, headquartered in London, is pleased to announce the launch of its first stateside location in New York City. The expansion comes on the heels of an exciting year for the studio, which in May aligned with renowned animation/VFX/live-action studio Psyop, a minority investor […]
King Tut met 21st century design and technology at the California Science Center. Projection Designer Bart Kresa mapped the space shuttle Endeavor with images of King Tut’s spectacular golden sarcophagus for the Science Center’s recent Discovery Ball fundraiser. Bart Kresa, who heads the international Bart Kresa Studio, transformed the space shuttle into the boy king’s tomb by projection mapping the fuselage and vertical tail with […]
The post How BARTKRESA Studio Turned a Space Shuttle into King Tut’s Tomb appeared first on LUMEN.
Wu Tsang’s voice is cheerful, if a little winded, when she answers the phone: “I’m in a fitting, but I can talk.” The New York– and Berlin-based artist is a week into filming a 23-minute experimental documentary about the origins of house music, which will premiere at Frieze New York. Tomorrow, she is scheduled to […]
The post ARTIST WU TSANG PARTNERS WITH GUCCI ON A SHORT FILM ABOUT THE ORIGINS OF HOUSE MUSIC appeared first on LUMEN.
Ahead of Houston’s third-annual Day for Night festival—which brings together music and forward-thinking art—we’re visiting some of the New York-based artists in their studios. As an artist, Matthew Schreiber is drawn to the possibilities of light—including its ability to disappear completely. “I like the ephemeral nature of the material,” he says. “I have a few […]
The post THE LASER AND HOLOGRAPHY EXPERT CHALLENGING THE LIMITS OF LIGHT appeared first on LUMEN.
June 12th 2018, Los Angeles, London – Ridley Scott has brought together all RSA Films affiliated companies in a multi-business restructure to form the Ridley Scott Creative Group. The Ridley Scott Creative Group strengthens the network across the affiliated companies to take advantage of emerging opportunities across all entertainment genres as well as their existing work in film, television, […]
Brooklyn studio MoSoMoS combine their many animation/production talents (including stop motion and motion control) into a delightful promo for NBC’s summer competition series called “Making it” starring Nick Offerman and Amy Poehler. About Mosomos: “We specialize in stop motion, motion control, mixed media, 2D animation, live action, and practical visual effects. We direct and produce […]
VJ Fader started his VJing career while he was studying art in California. Now he’s based in Berlin, working on a new marketplace for visual artists all over the world. Also, James compares popular festivals, shares his most memorable live mixing experience, and fantasizes about the nearest future of VJing. Don’t miss this conversation! Lumen: […]
The post VJs on Burning Man, New Platform for Visual Artists and How to Dream Big in Small Towns appeared first on LUMEN.
Marcelo Vidal lives and works in Montevideo, where people don’t really care about media art. But our hero managed to create his video mapping company, develop the field from a scratch, play with Ricardo Villalobos and visit a lot of international festivals. In this interview, Marcelo describes the most important steps in his career and […]
The post First and Only Video Mapping in Uruguay and How to Project Onto Rocks appeared first on LUMEN.
Bio Ritmo (Roberto Montiel) is an iconic character from the international VJing community, who’s truly passionate about visuals and their meanings. Luckily for Lumen, Roberto was very open to share stories and insights on his audiovisual education, partnership with LPM festival, baby project Medusa Lab, sources of inspiration, local shamanic practises, possibilities of AI, and […]
The post Everything You Need to Know About Mexican VJing: From Market Features to Powers of Ayahuasca appeared first on LUMEN.
Pradeep Mohan came from Chennai, India to become one of the moving forces of commercial VJing in Dubai. Working in the big event management company, this guy knows how things work inside out. Keep reading to learn from his experience! Lumen: You’re a video engineer and it sounds extremely cool but could you please describe […]
Yochanan Rauert a.k.a Yo Yochi knows how things work inside the international VJing community. In this interview he opens the secrets of successful networking, shares his software story, recommends the best sources of new media art related information, gives a brief yet ultimate guide on glitch art for beginners and so much more. Continue reading! […]
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