Multimedia Artists

(EN) The BIOHAZARD project was an introduction to a larger event which the META Spaţiu contemporary art gallery prepares for this year – NEW SPECIES. In a period in which the only constant was chaos, volatility, and the unpredictable, BIOHAZARD took place in Timişoara, in multiple spaces, between August and October 2020, incl. artists Alexandra Boaru, Richard Kitta, Michael Koch, Mălina Ionescu & Andreea Medar, revoltaire/kinema ikon, Silvia Moldovan, Cătălin Petrişor, Marilena Preda-Sânc. The main purpose was to adapt/readapt and calibrate/recalibrate to the context of the pandemic, which questioned the concept of exhibit itself and the relationship between the artist and the audience. Starting from this idea, the curatorial discourse left any settled form and preestablished agenda behind and became a means to mediate and negotiate the relationship between the artists and the exhibit spaces, between the interventions and the audience, a communicative platform oriented towards anthropocentrism and the disastrous effects of the human on the natural balance and life itself. Is the human the real biohazard, the element that endangers the existence of all forms of life and the existence of the planet? (Mirela Stoeac-Vlăduți)
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(RO) Proiectul BIOHAZARD a fost un prim capitol introductiv într-un eveniment mai mare pe care galeria de artă contemporană META Spațiu îl pregătește pentru anul acesta – NEW SPECIES. Suprapus peste o perioadă în care singura constantă a fost haosul, volatilitatea și neprevăzutul, BIOHAZARD s-a desfășurat în mai multe spații din Timișoara în perioada august – octombrie 2020, cu participarea artiștilor Alexandra Boaru, Richard Kitta, Michael Koch, Mălina Ionescu & Andreea Medar, revoltaire / kinema ikon, Silvia Moldovan, Cătălin Petrișor, Marilena Preda-Sânc. Scopul principal a fost unul de adaptare/readaptare și calibrare/recalibrare la condițiile pandemice care au pus sub semnul întrebării însăși conceptul de expoziție și cel al relației dintre artist și public. Plecând de la această idee, discursul curatorial a ieșit de sub sfera calcifierii și a prestabilitului, și a devenit, mai degrabă, un mijloc de mediere și negociere între artiști și spațiile de expunere, între intervențiile realizate și public, o platformă de comunicare și discuție orientată spre antropocentrism și efectele dezastruoase ale omului asupra echilibrului natural, precum și a vieții însăși. Este omul, de fapt, adevăratul biohazard, acel element care pune în pericol existența tuturor formelor de viață și a planetei? (Mirela Stoeac-Vlăduți)

This paper is an investigation of proximity between an artist and the art object by reworking of established cultural conventions and their aesthetics, such as art historical genres, character archetypes in film, traditional sculptural materials, also appropriation of existing works of art, literature, or political speeches. I trace this complex trajectory between the object and the artist looking at post-war Californian artists, Mike Kelley, John Knight, Allen Ruppersberg, and Ed Ruscha. I interpolate the dialogue with contemporary philosophers, Graham Harman, and the Object Oriented Ontology, as well as Bruno Latour and his Action Network Theory.

The quoted visual register brings an aspect of its history and previous context to the new arrangement, and can be dislocated from its original position or layered onto a new setting. In choreographing familiar art historical genres, styles, conventional uses of materials, the artist distances oneself from the art object as an original individual gesture to then re-claim that proximity by re-contextualizing the quoted identities. I will make a case for locating the weight of objectness and its originality in art works and how it affects the proximity between the work of art and the artist.

Las porosas fronteras entre la práctica experimental, el cine de la modernidad y el arte contemporáneo abren puertas a las más hermosas utopías del cine. Es propicio reflexionar sobre las fronteras y ámbitos de que y quienes determinan que es el cine y cuestionamos el análisis narratológico y textual de los audiovisuales , sino desu relación en sus contextos. Esta reflexión no es un tema nuevo: De hecho, tiene cincuenta años de haber comenzado su discusión. No basta con mirar el momento presente. Es fundamental volver la vista atrás y buscar comprender con más profundidad cómo surge esta idea de la expansión en Youngblood observados hoy como antecedentes en las Artes Multimediales.

A dialectogram is an invented, slightly tongue-in-cheek word combining ‘diagram’ with ‘dialect’ or ‘dialectic’ to describe large, detailed drawings of places in Glasgow. The drawings use ethnographic methods to collate personal narratives, local knowledge, feelings and imaginings about place, to create a unique social and aesthetic document. The dialectogram has been used to create documentary illustrations of the Red Road Flats as part of the Red Road Cultural project (now acquired by the People’s Palace Museum), and to record the living arrangements of the travelling showpeople of Glasgow’s East end (Fig. 1, 2). The DRAW DUKE STREET residency (Market Gallery, 30th of October to the 16th of December) was the first of a series of case study dialectograms for my PhD. These case studies centre on locations that are; in deprived and marginal areas; ‘hidden’ from public view or; are in a state of transition.

Multimedial presentation of more than 20 international art videos and films from 17 artists. The screening directed to the public space take place simultaneously in Knoll Galerie Wien, Fotograf Gallery Prague and MAO / DIG in K13 - Kasarne Kulturpark Košice.

Chris Fremantle, Co-producer, Public Art Scotland (Chair)
George Beasley, Professor Emeritus Georgia State University
Mary Neubauer, Professor, School of Art, Arizona State University
Jana Weldon, Senior Project Manager, Scottsdale Public Art Program

Art in the public realm is an important part of Scotland's cultural development (e.g. Deveron Arts http://www.deveron-arts.com/ , nva http://www.nva.org.uk/), Glasgow International http://www.glasgowinternational.org/ and smaller festivals, and Velocity http://www.culturesparks.co.uk/intelligence/information/engaging-public-velocityart the public art development programme for the Commonwealth Games in Glasgow in 2014). Glasgow School of Art http://sea-studio-blog.blogspot.com/ has been central to this story. 
Festivals, art schools, artist-led organisations and local government play key roles in the ecology.

For 26 years the Scottsdale Public Art (http://www.scottsdalepublicart.org ) transformed this 184-square mile city into an interactive outdoor gallery, largely utilizing the built environment with large scale projects. More recent initiatives focus on emerging practices and social context, with a few specifically addressing sculptural opportunities: In Flux and Belle Art.  The initiatives take on overlooked but common nooks that exist in every place, but that highlight the quirks of expansion and space that are unique to create the unexpected experience.
Drawing on Scottish and US experiences, this panel will incorporate artists and public art managers working across urban and rural contexts.
We will re-frame the panel format away from formal presentations and desultory questions about opportunities, into a discussion focused on the key questions of initiative and leadership, organisational form and intervention.