ArtSlant - Recently added en-us 40 Rafael Lozano-Hemmer - Museo Universitario de Arte Contemporaneo (MUAC) - October 29th - March 27th, 2016 <p style="text-align: justify;">The Museo Universitario de Arte Contempor&aacute;neo (MUAC) is pleased to present&nbsp;<strong>Pseudomatisms</strong>, the first comprehensive Museum exhibition dedicated to the work of Mexican media artist Rafael Lozano-Hemmer in his native country.&nbsp;</p> <p style="text-align: justify;">Curated by Jos&eacute; Luis Barrios and Alejandra Labastida, the exhibition features 42 artworks that span 23 years of production using interactive video, robotics, computerized surveillance, photography and sound sculpture.&nbsp;</p> <p style="text-align: justify;">The show will premiere five new works in varying scales, from&nbsp;<em>Zoom Pavilion</em>, a huge projection piece done in collaboration with Polish artist Krzysztof Wodiczko, to&nbsp;<em>Babbage Nanopamphlets,&nbsp;</em>tiny gold leaflets developed at Cornell University&rsquo;s Nano Scale Facility. Seminal works on view include&nbsp;<em>Pulse Room</em>, which represented Mexico at the Venice Biennale in 2007,&nbsp;<em>Vicious Circular Breathing</em>&nbsp;on loan from Istanbul&rsquo;s Borusan Contemporary, and&nbsp;<em>Standards and Double Standards,</em>&nbsp;which is in the MUAC collection.&nbsp;</p> <p style="text-align: justify;">The title of the exhibition is a reference to the Surrealists&rsquo; automatism, an artistic practice built on the expression of the subconscious by placing value on the accidental and random. Lozano-Hemmer expands&nbsp;this notion by reminding us about the impossibility of true randomness in a machinic universe where any pretension of autonomy in any program is only a simulation. In the words of the artist, a pseudomatism aims to make tangible the biases inherent in these simulations. By definition a pseudomatism is an action that is almost-voluntary: if an automaton &ldquo;acts by itself&rdquo; the work of Lozano-Hemmer on the contrary tries to &ldquo;act in relation to&rdquo;.&nbsp;</p> <p style="text-align: justify;">The artist does not see technology as an instrument or tool, but rather as an inevitable language that determines subjectivity and sociability. Through the public&rsquo;s touch, sight, breath, hearing and movement, the exhibition seeks to activate the relationships between machine, environment and perception, so as to underline the way in which technology, the body and the body-politic interpenetrate and are inseparable.&nbsp;</p> <p style="text-align: justify;">A bilingual catalogue will be produced, with essays from the curators and artist as well as commentaries on the artworks by Kathleen Forde and Scott McQuire. Far from presenting electronic art as something &ldquo;new&rdquo;, the texts delve into the processes and strategies that drive the practice of the artist linking them to traditions of experimentation in the history of art and science.&nbsp;</p> <p style="text-align: justify;">Apart from the catalogue, the artist will publish a USB drive that contains absolutely all the source code to program all the pieces in the exhibition. Any programmer will have access to the algorithms and methods that Lozano-Hemmer&rsquo;s team developed for each work, written in C++, OpenFrameworks, Processing, Delphi, Wiring, Assembler and Java. To our knowledge this will be the first time that a comprehensive art show will be made available with an open source code.</p> <p style="text-align: justify;"><strong>Artist:&nbsp;</strong>Rafael Lozano-Hemmer (Mexico City 1967, lives in Montr&eacute;al, Qu&eacute;bec) is an electronic artist that develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting a wide variety of technologies. He was the first artist to officially represent Mexico at the Venice Biennale, with a solo show at Palazzo Van Axel in 2007. He has also exhibited in Biennials and Triennials in Sydney, Istanbul, Havana, Singapore, Seville, ICP in New York, Valencia, New Orleans, Montr&eacute;al, Shanghai, Moscow and Kochi-Muziris in India. His solo exhibitions include the Museum of Modern Art in San Francisco, Fundaci&oacute;n Telef&oacute;nica in Madrid and the Museum of Contemporary Art in Sydney. Among other accolades, Lozano-Hemmer has won two BAFTAS from the British Academy, a Governor General&rsquo;s Award in Canada, a Golden Nica in Austria, a Bauhaus Award in Germany and a Troph&eacute;e des Lumi&egrave;res in France.</p> <p style="text-align: justify;"><strong>Exhibition production acknowledgements:</strong></p> <p style="text-align: justify;">Borusan Contemporary (Istanbul), OMR Gallery (Mexico City), CCA and CNF Cornell University (Ithaca), bitforms gallery (New York City), NC-Arte (Bogot&aacute;) and Antimodular Research (Montr&eacute;al).</p> <hr /> <p style="text-align: justify;">El MUAC se complace en presentar&nbsp;<em>Pseudomatismos</em>, la primera exposici&oacute;n monogr&aacute;fica de la obra del artista mexicano Rafael Lozano-Hemmer en un museo en M&eacute;xico. Curada por Jos&eacute; Luis Barrios y Alejandra Labastida, la exposici&oacute;n presenta 42 obras que recorren 23 a&ntilde;os de producci&oacute;n audiovisual, incluyendo piezas de video interactivo,rob&oacute;tica, vigilancia computarizada, fotograf&iacute;a e instalaci&oacute;n sonora.</p> <p style="text-align: justify;">La muestra cuenta con cinco estrenos mundiales en varias escalas, desde&nbsp;<em>Pabell&oacute;n de Ampliaciones</em>, &nbsp;una enorme proyecci&oacute;n realizada en colaboraci&oacute;n con el artista polaco Krzysztof Wodiczko, hasta&nbsp;<em>Nanopanfletos de Babbage,</em>peque&ntilde;os folletos de oro que fueron impresos en el &ldquo; Nano Scale Facility&rdquo; de la Universidad de Cornell. En la exposici&oacute;n se presentan varias obras emblem&aacute;ticas como&nbsp;<em>Almac&eacute;n de corazonadas</em>, que represent&oacute; a M&eacute;xico en la Bienal de Venecia en 2007,&nbsp;<em>Respiraci&oacute;n Circular Viciosa</em>&nbsp;procedente de la colecci&oacute;n Borusan Contemporary de Estambul, y<em>Rasero y Doble Rasero</em>&nbsp;de la colecci&oacute;n del MUAC.&nbsp;</p> <p style="text-align: justify;">El t&iacute;tulo de la exposici&oacute;n es una referencia a los automatismos surrealistas, una pr&aacute;ctica art&iacute;stica que apostaba al poder creativo del subconsciente y se sosten&iacute;a sobre la noci&oacute;n de valor en lo accidental y lo aleatorio. Lozano Hemmer ampl&iacute;a&nbsp;esta noci&oacute;n planteando la imposibilidad de lo aleatorio en el universo maqu&iacute;nico, en donde cualquier pretensi&oacute;n de autonom&iacute;a en un programa es tan solo una simulaci&oacute;n. En palabras del&nbsp; artista, un pseudomatismo intenta hacer tangibles las predeterminaciones inherentes a esas simulaciones<em>.</em>&nbsp;Por definici&oacute;n el pseudomatismo es una acci&oacute;n casi-voluntaria: si el aut&oacute;mata act&uacute;a &lsquo;por s&iacute; mismo&rsquo;, la obra de Lozano-Hemmer al contrario busca actuar &uml; en relaci&oacute;n&uml;.</p> <p style="text-align: justify;">El artista parte del entendido que la tecnolog&iacute;a no es un instrumento o herramienta, sino una forma inevitable de determinaci&oacute;n de&nbsp; subjetividad y&nbsp; sociabilidad. A partir del juego con el tacto, la vista, la respiraci&oacute;n, el o&iacute;do y el movimiento del p&uacute;blico, la exposici&oacute;n busca activar relaciones entre m&aacute;quina, entorno y percepci&oacute;n, para con ello mostrar el modo en que la tecnolog&iacute;a, el cuerpo y el cuerpo pol&iacute;tico son inseparables.</p> <p style="text-align: justify;"><strong>Artista:</strong>&nbsp;Rafael Lozano-Hemmer (Ciudad de M&eacute;xico, 1967, vive en Montr&eacute;al, Qu&eacute;bec) es un artista electr&oacute;nico que desarrolla instalaciones interactivas que est&aacute;n en la intersecci&oacute;n de la arquitectura y el arte del performance. Su inter&eacute;s principal es crear plataformas de participaci&oacute;n p&uacute;blica, pervirtiendo una gran variedad de tecnolog&iacute;as de control. Fue el primer artista que represent&oacute; oficialmente a M&eacute;xico en la Bienal de Venecia en el a&ntilde;o 2007, con una individual en el Palacio Van Axel. Tambi&eacute;n expuso en las Bienales y Trienales de S&iacute;dney, Estambul, Habana, Singapur, Sevilla, ICP en Nueva York, Valencia, Nueva Orleans, Montreal, Singapur, Shangh&aacute;i, Kochi-Muziris y Mosc&uacute;. Sus exposiciones individuales incluyen&nbsp; el Museo de Arte Moderno de San Francisco, la Fundaci&oacute;n Telef&oacute;nica en Madrid y el Museo de Arte Contempor&aacute;neo de Sidney. Lozano-Hemmer ha ganado dos BAFTAS de la Academia Brit&aacute;nica, un Governor General Award en Canad&aacute;, un premio Golden Nica en Austria, un premio Bauhaus en Alemania, y un Troph&eacute;e des Lumi&egrave;res en Francia, entre otros galardones. Su sitio web est&aacute; en la direcci&oacute;n&nbsp;<a href="" target="_blank"></a>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Curadores:</strong>&nbsp;Jos&eacute; Luis Barrios y Alejandra Labastida</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Reconocimientos de producci&oacute;n de la exposici&oacute;n:&nbsp;</strong>Borusan Contemporary (Estambul), OMR Gallery (ciudad de M&eacute;xico), CCA and CNF Cornell University (Ithaca), bitforms gallery (Nueva York), NC-Arte (Bogot&aacute;) y Antimodular Research (Montr&eacute;al).</p> Wed, 25 Nov 2015 09:18:18 +0000 Hiwa K, Gunilla Lundahl, Anna ihle - Konsthall C - May 20th - September 27th Tue, 24 Nov 2015 08:52:07 +0000 Hoesy Corona - The Baltimore Museum of Art - September 15th, 2012 6:00 PM - 8:00 PM <p>Grand Reopening of the Contemporary Wing.</p> Sun, 22 Nov 2015 22:28:59 +0000 victor f. de. m. torres, Alexander D'Agostino, Ada Pinkston, sarah tooled, sophia mak, Laure Drogoul, noelle tolbert, Hoesy Corona - The Baltimore Museum of Art - November 15th, 2014 6:00 PM - 11:00 PM <p>Labbodies Performance Art Laboratory&nbsp;<br />Fast Forward Future Lab | The Party of the Century<br />The Baltimore Museum of Art's 100th Anniversary!<br /><br />The art institution: a cultural anthropological phenomenon that carries weight in our contemporary society. The art institution is a sacred space that holds the precious relics of our cultural production from years past and present. There are many forms of art institutions however, the influence and significance of the museum will always hold true. From the perspective of many, it is the end all be all of visual culture. The purpose of the modern museum is to collect, preserve, interpret, and display items of cultural and artistic significance for the education of the public. Today, a visitor can enter the building and connect to artistic production of years past and the present. In this way the museum acts as a time capsule of days gone by. But it can also act as a traveling machine, of days to come.</p> <p>Alexander Dorner once said "the new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy." Dorner said this quote almost 100 years ago. Today the art institution truly does extend beyond the walls of the art institution. How will this new energy manifest itself in the future?<br /><br /><a href="" data-hovercard="/ajax/hovercard/page.php?id=594381733977673&amp;extragetparams=%7B%22directed_target_id%22%3A850783088300285%7D" rel="nofollow">Labbodies</a>&nbsp;Performance Art Laboratory will celebrate the 100th anniversary of&nbsp;<a href="" data-hovercard="/ajax/hovercard/page.php?id=65132668653&amp;extragetparams=%7B%22directed_target_id%22%3A850783088300285%7D" rel="nofollow">The Baltimore Museum of Art</a>&nbsp;with FAST FORWARD FUTURE LAB, a performance art lab that looks to the future and explores the body as sculpture, the body as work of art and life as form.&nbsp;<br />Today the role of the museum is layered: it creates a cannon of artistic production, creative bodies and ideas. The characters of the museum: Director, Curator, Collector, Conservationist, Art Works, Docents, Security Guards, Janitors and Patrons all have a role to play in establishing and maintaining the canon of thought and cultural production. Tomorrow, these roles will be transformed.<br /><br />The year is 2114 and The Baltimore Museum of Art has been around for 200 years. What will the museum experience look like? will the museum still be a museum or no museum at all? will it be more like a power station? a producer of new energy? a charging station for all? will it pop-up in unconventional locations throughout the city and quench its thirst?&nbsp;<br /><br />The FAST FORWARD FUTURE LAB features durational performance works that foreshadow the museum of the future. These original performance works are by: LAURE DROGOUL | SOPHIA MAK | SARAH TOOLEY | ALEXANDER D'AGOSTINO | NOELLE TOLBERT | VICTOR TORRES | &amp; the collaborative team of AhHA (Ada hoesy / Hoesy ada)<br /><br />other performers include: Jake Bee, Waqia Abdul-Kareem, Talbolt Johnson and Nicola Norman&nbsp;<br /><br />The art will engage the viewer as much as the viewer will engage the art. The sculptures of the future are alive!&nbsp;<br /><br />Curated by HOESY CORONA and ADA PINKSTON (LABBODIES)</p> Sun, 22 Nov 2015 22:23:01 +0000