• nmf20-all.png

02 December 2006

video feature
Rome – MAXXI
NETSPACE: Travels to Art on the Net
JavaMuseum – netart Features
Elena Giulia Rossi

Travelling in Internet is still possible, but in terms of netart it is a travel without return. The opening of the show at MAXXI – The Museum of the Art of the 21st Century in Roma
is representing the occasion to set a focus again on “NETART” and its potential concerning medium of the Internet, and at the same time to commemorate the comprehinsive JavaMuseum show in the framework of NewMediaFest2007. The show “Netspace-Travels to Art on the Net” – curated by Elena Giulia Rossi at MAXXI is just a short time earlier than the JavaMuseum show – Seven Ways for Saying Internet with Net Art – which the same curator is curating for JavaMuseum. The today’y article would like to honor Elena Giulia Rossi for curating both shows, and by setting the focus on the JavaMuseum context 2007, to honour all participating artists and those works which still are available as a travel destination in the net.
At the same time, JavaMuseum is announcing its transformation in 2021 into The New Institute for Contemporary Art & Media Archeology – dedicated to research and presevation of media technologies threatened with extinct, for instance Shockwave or Flash – and place the threatened works into a special exhibition context, it is the transformation of JavaMuseum for a higher goal.

Netspace: Travel to art on the Net

MAXXI – National Museum for Art of XX! century Rome/Italy – curated by Elena Giulia Rossi
2 December 2006 – 28 February 2007

Netart Features of the Month in December 2020
MAXXI Museum Rome

Article in Flash Art

)and_scape( by Agricola de Cologne
]and_scape[, 2002 , interactive, Flash


Interactive moving picture created in Flash by media artist Agricola de Cologne
inspired by poetic texts of Liubov Sirota, an Ukrainian Tchernobyl survivor.

The work is telling something about landscapes
imaginary landscapes, flourishing landscapes
landscapes of illusion, landscape of hope, landscape of innocence
landscapes of being home, landscapes of unscathed genetics
landscape of giving home to all beings of the Creation.
Are there any landscapes any longer, did not they dry out, blasted, shrinked to minimalism through the will for destruction, the bombs over Hiroshima, Chernobyl the completely mined enviroment which leaves no air to breath, the mountains of garbage collapsing……………..
who will remember all those little children
who will be born again and again
who will never get any chance to survive.
We will remember,
we will reconstruct forgotten landscapes
But will we succeed?

The work is developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.

Voice and sound performance by Agricola de Cologne.

Elena Giulia Rossi - curator

Elena Giulia Rossi

(Rome, 1971)

Elena Giulia Rossi works and lives in Rome where she has been collaborating with MAXXI – museo nazionale delle arti del XXI secolo since 2002.

In 1999 she achieved her degree at the University of Rome La Sapienza with a major in History of Contemporary Art. In 2002 she graduated from The School of The Art Institute of Chicago with a Master of Arts in Arts Administration. She collaborated with P.S.1 Contemporary Art Center, New York (summer 2001), and at The Renaissance Society at The University of Chicago (spring 2002).

In 2003 she published in Italian Archeonet. Viaggio nella storia della net/web art e suo ingresso negli spazi dei musei tradizionali (Lalli Editore, Siena). Archeonet was revised by contemporary art magazines such as “Arte e Critica” (n. 35/36, ottobre – dicembre 2003, p.89); “Next Exit” (n. 13, december 2003, p.50) and the online magazine “Neural.it” specialized in new media (19 aprile 2005). In 2005 she was Editor of Eduardo Kac, Move 36 (Filigranes Editions, Parigi 2005).
She was invited to be part of the Jury for the Award Netizens II (Galleria Sala 1, Rome 2004), and for the award Premio di Arte Digitale (DARC – Direzione generale per l’Arte e l’Architettura Contemporanee and Fondazione Rosselli, Rome 2005).

She was invited to give lectures an seminars at the University of Siena in the Scuola di Specializzazione in Archeologia e Storia dell’Arte (Siena, 2003-2004-2005), at the Polish Institute (Rome, 2006), at the International conference “Artech Media” (Madrid, 2007).

In 2006 she curated Food in Bytes within Time in Jazz Festival (Berchidda, Sardegna) and She Devils (Studio Stefania Miscetti, Roma).

Since 2005 she has been curating a section dedicated to net/web art at MAXXI – Museo Nazionale delle Arti del XXI Secolo in Rome. She regularly writes for the on-line edition of the Italian newspaper “L’Unità”.

Seven Ways for Saying Internet with Net Art

Elena Giulia Rossi is curating for
JavaMuseum – Forum for Internet Technology in Contemporary Art
the exhibition
Seven Ways for Saying Internet with Net Art

to be launched on 1 November 2007
featuring these artists
Seven Ways for Saying Internet with Net Art
Elena Giulia Rossi
Since its inception, net art has always been referring to its own medium. The seven works selected, created in different times, address different facets of the nature of Internet, from the social perception of the self and of the body in relation to technology, to the potential impact that this medium can have on society, mostly when art is concerned.The relationship between nature art and representation of the self with the flow of information is synthesized in the hybrid portrait of Deus Fleurs by the French artist Reynald Drouhin.
Generative processes as art are the core of C.J. Yeh’s Equal where personal data generate modernist-like paintings. Sound and space in relation to dynamics and energy are the subject of Santiago Ortiz’s Sound and Energy where Internet is treated as a canvas for dynamic and interactive sketches.
Molleindustria’s works, a collective engaged in the creation of original games aimed to rise political concerns are excellent examples of how games, and Internet as a vehicle to foster them, can ease issues otherwise difficult to face. Mc Donald’s Videogame is a courageous critique of the McDonald’s brand and of the functioning of its corporation, at the origin of remarkable ecological damages. It is through the game that Juliet Davis explores in Pieces of Herself feminine embodiment and its relation to real and virtual space. A game is also involved in Iconoclast Game by Lorenzo Pizzanelli: through irony and play the author gives a critical view of the power of images and of the museums that make them sacred.
F.R.U.I.T., engaged in the shaping of an on-line community to encourage cultivation within urban areas, is a project where the network activity is art. It makes clear that net art is “action” and it is closer to performing than any other art practice.

7 ways to say Internet with netart

curated by Elena Giulia Rossi – MAXXI Rome/Italy

Juliet Davis

Pieces of Herself, 2004
She employs the genre of game to explore embodiment and feminine identity in relation to public and private space. Some objects, metaphors for the self, are spread around different environments from daily life that surfers can select from the main menu of the game (e.g. the kitchen, the bedroom, the office, outdoor spaces). They are dragged into the form of the body designed on the left side of the screen while activating acoustical effects as well as clips of interviews of different women through time.

Reinhald Drouhin

Des Fleurs, 2003
2,688 flowers form a portrait generated by the fusion of the seven faces of the members of the Incident.net collective (Krn, Gregory, Philippe, Marika, Julie, Michael and Reynald). The emergent face is both male and female and has that mixture of the fantastic and the monstruous which recalls the Renaissance painter Arcimboldo’s portraits generated by the combination of objects of the same genre such as fruit, fish, birds, books etc. The result is a dynamic mosaic of images, sounds and writing combined in a process of construction and deconstruction. Phrases about nature, the sound of insects and images coexist on the same surface and give life to a portrait that belongs not only to the people portrayed but also to Internet itself.

Free Soil

F.R.U.I.T. , 2005
F.R.U.I.T. takes up the challenge of elevating the ecological knowledge of consumers and encouraging a way of life that is friendly to the environment. “We want consumers to be conscious of the entire life of a product, from production to utilization, and not just what they see in the stores. Consumers must be aware that every phase of a product’s life influences the environment and ourselves.”
The social engagement is very clear: the goal is to encourage the development of areas fit for cultivation within urban areas by improving the knowledge of consumers in the field of agricultural products.
Free Soil has produced a run of FRUIT wrappers, a website, and a travelling installation as part of an initiative to inform people about alternative food systems and local food movements. Information will be carried through the food system and into the hands of consumers. The wrapper holds information on a variety of aspects concerning food movements, transport and urban farming.


McDonald’s Videogame, 2005
McDonald’s Video-game is a politically “incorrect” game that denounces the negative impact of the eponymous fast-food chain. The Molleindustria collective states: “Making money in a corporation like McDonald’s is not simple at all. Behind every sandwich there are complex processes that one must learn to manage: from the creation of pastures to the slaughter of animals, from the restaurant management to the branding. You will discover all the dirty secrets that made us one of the biggest companies in the world”.
To make the corporation productive, the final goal of the game, requires the use of weapons of many kinds: deforesting acres and acres of ground for the pastures, feeding animals with genetically modified products, firing workers if necessary and engaging in efficient marketing campaigns. The player needs to take the clients’ response to any action into consideration: for example, they might have to face client boycotts because there is insufficient staff at the cashes or because of food poisoning. Winning the game means enormous environmental damage, of course.

Santiago Ortiz

Sound and Energy, 2005
Sound and Energy
e composto da undici lavori interattivi sonori che, attraverso il gioco, indagano la relazione tra spazio, suono e energia.
The project consists of eleven interactive works on sound. All these pieces conform an investigation of relations between sound and space, dynamics, energy and interactivity. They are classified in 5 categories -every piece could have more than one category associated-: – binaural: sounds in space; each sound intensity is in relation with his distance to each ear. – synthesis: uses wave synthesis techniques to generate dynamics in space. – physical model: mechanical models (gravity, elastics, bounding, friction…). – random: uses stochastic models to generate dynamics and sound:
binaural triad: (()()) simple and binaural
sound energy: ))o(( sound = kinetik energy
auralmix: (()()) more conventional but powerfull tool
music over fractal land: an algorithm generates realistic landscapes
ki2D: (()()) binaural triad + synthesiz”r = ki2D (the first work here: 2001)
crystal: inspired from “Musica Ricercata”, from Gyorgy Ligeti
gravitatory sound: ))o(( simple and funny
auralia: (()()) create and navigate your own sound landscapes
combinatory music: working enthropy
sound sticky elastic structure: 3D + holistic physic model (the last work here: 2005)
synthesizer: the unique soundless sound toy!: creates movement with sound synthesis technique. (Santiago Ortiz).


MyData=MyMondrian, 2004
Equal series is my attempt to focus on the creative process of art and, at the same time, address data input as a metaphor for the Modernist thought process.
Through out this series, what I have been trying to do is using programming language to connect everyday activities with acclaimed Modernist masters. By analyzing the formal elements of these masters’ signature style and then turn them into algorithms, I have been able to create art interfaces that enable users to make art in unexpected ways.
MyData=MyMondrian has an interface which is a replicated sign-up form for an online dating site. Rather than fishing for friends, the result upon hitting “enter” is a quick cyber-mastication of one’s personal status and their subsequent regurgitation in the form of a Piet Mondrian-like composition.
MyTune=MyPollock converts computer keyboard into an electric piano, on which visitors are encouraged to play music. Each note corresponds to a simulated Jackson Pollock paint drip.
MyBirthday = MyPhilipGlass requires participants to enter their name and birthday, at which point an algorithm transcribes the information into a Minimalist musical score, then the generated score is played by the computer”. (C.J. Yeh)

Lorenzo Pizzanelli

Iconoclast Game, 2003-2006
The main character, which the player has to identify himself with in order to get past the stages of the game, is Marcel Duchamp. In the prologue Duchamp appears on a reddish cosmos background, in a double-reflection version, male and female (let us recall Duchamp’s female identity, Rose Selavy created in New York in 1920, with which the artist signed various works). But death comes to kidnap the superior part of our double hero, and lets the other one drop down towards the earth. Just like in the Platonic myth, the Symposium, the unity of the androgynous is broken and the fallen Marcel (or Rose) will have to complete ten different tasks inside a museum before he/she will be able to reunite with his/her other half and renew the universe in a cosmic conflagration. Inside the museum, the paintings and the sculpture (there is only one – Michelangelo’s David) our hero/heroine meets on his way come to life and threaten him/her.
What if the destiny, not only of art, but of all of Western culture, had been decided between 726 and 787 A.D., i.e., between the destruction of the sacred images ordered by the Byzantine Emperor Leo III Isauric and the following council of Nicea, which, on the contrary, declared the lawfulness of their cult?
Images continue to have a central role – even after the decline of the Christian religion as a crucial means of social cohesion – in the secularised and “disenchanted” society which has shaped in the course of modernity. The victory of iconolatry between the VIII and IX Century of the vulgar era, in other words, could have marked the West in an irreversible way.
The only way to really come to terms with the art of our past is by freeing it from the ideological and habitual incrustations, which have transformed some masterpieces into common places of a diffuse and banal culture.” (Lorenzo Pizzanelli).

JavaMuseum - net.net 1-5

net.NET – features I -V
curated by Wilfried Agricola de Cologne
director of JavaMuseum


Adele Prince (UK)

J.T.Wine (USA)

MEZ (Australia)

Konstantia Sofokleous (Cyprus)

Katty Vandenberghe (SA) /Chris Diedericks (SA)

Carlo Sansolo (Brazil)
Les Liens Invisibles (Italy)


Ernesto Rios (Mexico)

santo_file (Spain)

Ian M Clothier (New Zealand)
SoiiZen Art Labs (Taiwan)
Ethan Ham/Benjamin Rosenbaum (USA/CH)
Gaya Gajewska (UK)
Dirk Vekemans (Belgium)


JiHyun Ahn

Alan Bigelow
Osvaldo Cibils
Henry Gwiazda/Reed Peiffer
Hyeseung Yoo
Anders Weberg


A. Andreas

Adam Buczek
J.R. Carpenter
Ute Hoerner/Matthias Antlfinger
Juan Patino
Katty Vandenberghe/Janine Lewis


Michael Takeo Magruder


G.H. Hovagimyan

Alexander Mouton
Julian Konczak
Christoph Bruchansky
Martin John Callanan

Schedule for – 02 December

  • World AIDS DAY – 01 December 2020
  • Biennale 3000 Sao Paulo by Fred Forest MAC – Contemporary Art Museum Sao Paulo – 7 October – 15 December 2006
  • *MICROPOLIS – International contest for Digital Film & Video Athens/Greece- 30 November -20 January 2006
  • VideoBabel – International Audiovisual Festival – 24 November – 19 December 2014
  • VideoBabel – Videoart festival Cuzco/Peru – 25 Nov-19 Dec 2013
  • InShadow – International Performance Festival Lisbon 26 Nov – 6 Dec 2015
  • International Videoart Festival Camaguey – 25 Nov – 2 Dec 2011
  • Artneuland Gallery Berlin/Germany – 25 November 2006 -24 February 2007
  • Codec Videoart Festival 2016 Mexico City /MX – 1-3 December 2016
  • FIVA – Festival Internacional de Videoarte Buenos Aires/Argentina – 2-4 December 2016
  • Bigscreen Festival Kunming/China- 27 November – 2 December 2007
  • Florina School of Visual art – Florina/Greece – 3 Dexcember 2013
  • Netspace: Travel to art on the Net – MAXXI – National Museum for Art of XX! century Rome/Italy – curated by Elena Giulia Rossi – 2 December 2006 – 28 February 2007