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2020. Media(S)cene Monterrey
2020. Media(S)cene Monterrey
Barry VackerThis is a PDF of a talk I gave at Instituto Tecnológico de Estudios Superiores de Monterrey. The talk was about my art installations, based on my international award-winning concept/design essay. Due to the Covid pandemic, the talk was given via Zoom
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A media façade – here understood technologically, primarily as light or animated pictures generated by electronic devices (although there are examples of kinetic, that is, mechanical media façades) is not an ornament, that is, its function is not merely decorative, but, with its potential as metaphor and for interaction, it is a mode of communication between architecture and environment, that is, the observer/passer-by and the city.
Bienal de Arte Digital
Livro Bienal de Arte Digital 20182018 •
A bienal de arte digital foi idealizada em 2015 com o objetivo de celebrar no ano de 2018 os 10 anos de atuação do fad – festival de arte digital, um dos pioneiros festivais sobre arte e tecnologia do brasil. Além da celebração, a bienal de arte digital surge como um projeto de agenda internacional no brasil, buscando verticalizar as reflexões para arte em meios tecnológicos e suas derivações. A bienal que incluiu exposições de arte digital, apresentações artísticas em performances audiovisuais, oficinas e simpósios internacionais ocorreu durante os meses de fevereiro à abril de 2018 nas cidades do rio de Janeiro e Belo Horizonte. ISBN 978-85-63921-02-4 Português & English 131 Páginas / 131 Pages The digital art biennial was conceived in 2015 with the objective of celebrating in the year 2018 the 10 years of activity of the fad – digital art festival, one of the pioneering festivals about art and technology in brazil. in addition to the celebration, the digital art biennial emerges as an international programming project in brazil, seeking to verticalize the reflections for art in technological means and its derivations. The biennial, which included exhibitions of dig- ital art, artistic presentations in audiovisual performances, workshops and international symposiums, took place from february to april 2018
Exhibition review by Caroline “Olivia” Wolf, Rice University “Migraciones (en el) arte contemporaneo / Migrations (in) Contemporary Art.” Centro de Arte Contemporáneo. Museo de la Universidad Nacional Tres de Febrero (MUNTREF), Centro de Arte Contemporaneo, Hotel de Inmigrantes. October 1, 2015 – December 31, 2015. Currently online as a virtual exhibition. A recent exhibit organized in the heart of Buenos Aires, Migraciones (en el) arte contemporaneo boldly tangles with discourses of immigration via contemporary art. The show, curated by Diana Wechsler with the support of MUNTREF Rector Aníbal Jozami, brought together an oeuvre of twenty-two artists from over a dozen countries. These works engage intimately with issues of identity, itinerancy, alienation, and belonging in mediums ranging from found objects and photography to video and sound installations. Emerging amidst the Syrian refugee crisis, the exhibit can be seen as one of a series of curatorial efforts tackling the topic of border crossings throughout Latin America in 2015. The exhibit must be understood as holding particular resonance in Argentina, a country historically recognized for its open-door immigration policies during key moments of mass migration.
AMPS Proceedings Series 20.2. ISSN 2398-9467 Connections: Exploring Heritage, Architecture, Cities, Art, Media
Waves: Crosscurrents of Art, Technology and Environments2020 •
Since media displays, both screens and projections, are content hungry and increasingly present in today’s built environment, it makes sense to train the next generation of creative industries workers to produce artworks for these platforms. Hence, could we use such platforms at our institutions as teaching tools and to present artworks and students’ creative endeavours rather than advertisements? Higher education institutions can provide access to these technologies by setting up their own displays and projection systems on campus, and using them as learning platforms that would otherwise remain inaccessible to students. In this paper we discuss that approach, the setting up of the learning initiative and the challenges we have encountered. We believe that by offering access to such platforms on campus we are democratising students’ access to the technologies used by media and advertising industries while also improving their learning experience by displaying their artworks in public. The WAVES exhibition gives students the opportunity of presenting their work internationally and in the public realm - outside the classroom context and away from small screens - which in turn motivates them to produce higher quality artworks; it is not just coursework or a mere exercise in content creation, they are invited to design for a specific context.5 To discuss our media architecture education project WAVES in detail, we first have to introduce the platforms that have enabled this ongoing collaboration. A short description of the two sites and the institutional support should suffice.
In "On The Waterfront" | vol. 33, pp. 5-36 | Barcelona: University of Barcelona
Las Paredes de la Crisis: Arte Urbano y Ciudad en el Centro de Atenas, 2000-2012 | 20142014 •
A re-publication of "Walls of Crisis" (2013), with double the number of images and a summary in Spanish, in volume 33 (November 2014) of the University of Barcelona's journal on Public Space, Urban Design and Public Art "On the Waterfront".
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