video feature
Tokyo
Machita City Museum of Graphic Arts
Art On The Net 2001-2002-2003

Tokyo

Art on the net 2001 2002 2003

Art on the Net – 2001-2002-2003
Machida City Museum of Graphic Arts Tokyo

Art On The Net (AON) – had actually a kind of pioneer function, because some people in Tokyo had recognized already early the potential and challenge of netart for contemporary art. Wilfried participated 3 times – in 2001, 2002 and 2003. Actually the 2001 participation was the most substantial one, but in 2002 the AON makers made a fundamental mistake from which the event project never recovered, although it was continued a couple of years further on, before it stopped after the matter as such had become obsolete. Wilfried is still remembering,. what kind of shock it was when after his selected work was confirmed for participating, the selected artists were informed that now they were obliged to play the role of the jury and they had to judge against their collegues. As Wilfried saw it, it was such a disgusting idea because the artists were forced to become mutual enemies. It was no secrete anonymous voting, but the artists had to explain, why they voted for which work or artist. Wilfried knew many of the participants because they were well respected collaborating with him on JavaMuseum and other platforms – so he gave his comment, which can be experienced below, by criticizing and condemning the attempt of the AON makers to destroy the community of artists which had been developed during months and years before. However, Wilfried did not remove but decided to remain in the show with his selected work in order to be able to criticize the makers of AON. The consequent result was, that afterwards AON did not release any open call any more, and lost any international resonance therefore, but hired in 2003 some external curators, one of them selected a project – ” Art of Torture” – which he was participating in, and since 2004 a static jury, until these people discontinued in 2009. What a mess and – what a pity! Because the new media art scene needed such promotors for a promissing new art form! The experimenting with completely inappropriate concepts had killed not only this event, but also violated the reputation of netart profoundly!

The Machida City Museum of Graphic Arts

About the “Art on the Net” project

The Machida City Museum of Graphic Arts, Tokyo (MCMOGATK) locates on the outskirts of Tokyo megalopolis. Its collection consists of 16000 of printed artworks from western and eastern world.

The Museum is also notorious for its art festival on the Internet. It has been steering “Art on the Net,” a project using the Internet as a space for artistic expression. Since 1995, this project has been calling on artists around the world to think together what the relationship between the Internet and art could be. On the seventh year in 2002, under the theme “9.11,” we were able to see artists from 20countries taking part in the project. In the past seven years, technology and theme used for the project represented the changes and developments of the relationship between the art and the Internet.

Art on the Net 2001

Art on the Net 2002

Art on the Net 2003

*Art Of Torture – Art against Torture – NCCA Kaliningrad (Russia)
Seconds: Forever 2001

ART OF TORTURES AND EXECUTIONS – ART AGAINST TORTURES AND EXECUTIONS

THE CONCEPT

The project “ART OF TORTURES AND EXECUTIONS – ART AGAINST TORTURES AND EXECUTIONS” represents the open social network art communication on the given problem exhibited and realised in different forms of human activity

Open
Free access of the participants in the project despite of the active invitation of separate persons. Besides the openness is considered by the network nature of the project, large format and medial level of the subject.

Social
The “sociality” is dictated by the actual problematic level of real life in notifying the phenomenon of tortures and execution. Strengthening of contrast in the world between polar anthropogenous formations occurs with larger acceleration, increasing a gap between them. On one pole there exists functional-mechanised technogenious type of a human being, on the other one – practically not even changed for elapsed millenniums the primitive societies. The space between them is occupied by a great deal of ethno-confessional groups; among the number of general factors unifying them the most significant and expressive ones are attributive-ritualised tortures and execution.

The social aspects may include the verifying result received on the final stage of the project as statistically representation information about social-cultural human activity on the concrete item.

Besides the conflict dual stand of the man as entities reasonable (Homo Sapience) is trusted to the basis of the project. On the one hand is the center of cruelty, it is most refined “machine” of violence and destruction; with another – is an institute of the law and protection, engaging problems of an ecology and preservation.

Network
Network – is the most friendly intermedial communicative shape of relationships and connections. In connection with the off-the-shelf delivery devices of the information, the mobility of obtaining of news, total propagation of networks on a civilized world are augmented of involving by the mass audience in possession of having the information (knowledge). And, simultaneously, there is an alignment of the privileges of the State in inviolability, obtaining, forwarding and broadcasting of the information.

Art
According to the definition the institutionalized Center for Contemporary Art initializing and bringing the given project to the society deals with art. Defining the project as art but not multicultural one and inviting to participate all creative and intellectual persons and collectives that are able to make art-reflection on the given problem actual in different spheres of the society, the author of the project is a field receptor and consequently the environment begins to react on it realizing in a form of art events. Locally artistic implementation of the topic in the supposed borders may vary, clone, mutate, dissolve and concretize in local discourse space.

“Tortures and executions”
It is senseless to philosophize by concept of violence as a category, the presence of which one is total in material life by virtue of natural or, if it is necessary, godhead–devilish origin.
The urgency for society gains a phenomenon of the truly and extremely human invention of contextually-applied violence. Practicing, the most advanced professional hangman, are in step with technical advance, innovating the means and methods, reaching thus of perfection and efficiency in the process of tortures, and frequently and highest humanity, killing without excruciating and pain. Those are the dialectics of infiltration of technical advance in the most private and intimate fields of human or antihuman activity.

“Art of tortures and execution”
The subject of aggression and violence in the field of art can be attributed to a general place, to the main stream of the today’s art scene. The subject of aggression and violence in the field of art can be attributed to a general place, to the main stream of the today’s art scene. Only lazy one has not cut to itself veins publicly, or – it is even better – to the partner on the workshop. On the traditionally worn out problem: “Where is boundary between art and life?”, today even “not advanced” one, not at all intellectual responds: “Everywhere and anywhere” or “Where we’ll marked it, there also will be”.

“Art against tortures and execution”
Promoting the given subjects in public artistic consciousness the curators of the project again and again urge the participants of event to interpret design idea and through the creativity to call a public resonance in society against violence of anthropogenous origin.