WOW Jubilee 2020 – II

International programming of “Iranian Women artists, Sensibility against Violence”

Their common point is to be engaged and sensitive: sensitive to the violence and the oppression of political powers, calling for thought not to forget barbarism.
Through their Video Art medium, they represent the transformed body, the censored body, the erased body, questioning us about our identity in our contemporary societies.
The works of these Iranian origin, women artists, sometimes considered as provocative, play with social and religious norms, pushing the limits of the transgression and fighting against absurd taboos, offering us a dreamlike walk through metaphorical and poetic images.
Between dreams and reality, they immerse the viewer in their own visual universe, drawing the melancholy, the anguish and the pain of all those victims of war and exile, of all those suffering the separation imposed by geopolitical borders.

About the curator
Parya Vatankhah
is an Iranian visual artist, living and working for several years in Paris. Her artistic practice is multidisciplinary and involves painting, photography, video, performance and installation. She is interested in the contradictions of human thought and the existence of different realities for each of us in the face of a given situation, influenced by our past and by our private and social lives. The subjects of her work are nourished by her intimate and social experiments such as the Islamic revolution in Iran and its consequences on human rights violations and gender inequality, war, economic problems and also the experience of her immigration. Her works address the complexity of building oneself and knowing one’s own identity when the violence and suffering caused by political conflicts reach the intimate life. Her art is exhibited internationally in solo and group exhibitions, video art and contemporary art festivals, and at university conferences such as the Casablanca International Festival, Les instants vidéo de Marseille, London Feminist Film Festival, RMN-Grand Palais in Paris, Malmö̈ art center in Konsthall, Sweden and the Arad Art Museum in Romania. She is currently preparing a thesis in Aesthetics, Science and Technology of the Arts on the theme of the representation of the body in engaged and political art. She also teaches process project courses about the representation of the body in contemporary art at the Department of Fine Arts of the University of Paris 8.

Videos

Azadeh Nilchian (Iran) 
 – Zoorkhâneh, 2009-10, 4:26
Haleh Jamali (Iran) – The End of the Beginning 2018, 3:15
Sara Niroobakhsh (Iran) – Rainfall from Practice makes perfect series, 2015, 7:52
Golnaz MOSHIRIAN (Iran) – I see myself, 2011, 5:59
Roxy Farhat (Iran) – How Was Your Morning? 2018, 3:03
Parya Vatankhah (Iran) – Distance 2018, 6:43
Parya Vatankhah (Iran) – Passage 2016, 24:00
Rojin Shafiei (Iran) – Untitled 2015, 2:55
Mozhgan Erfani (Iran) – Khafaqan 2004, 1:19
Mozhgan Erfani (Iran) – Je me présente 2004, 1:18

Azadeh Nilchian 
 – Zoorkhâneh, 2009-10, 4:26
Video, Electroacoustic

Between sound and movement, inspired by the Iranian sacred and ancient sport which is only for men, this video questions the situation of women as spectacles who could just look at this martial art without having rights to exercise it. The video represents a “moral action” but which exclude the women in traditional societies.

Azadeh Nilchian
is an Iranian-French visual artist. Her practice is interdisciplinary, combining sound, visual and space, including installation, video art and electroacoustic music.
She is an associate researcher to the National Library of France on the collection of the International Institute of Electroacoustic Music of Bourges (IMEB) since October 2016, and has collaborated in the research program Les Arts Trompeurs – Machines, Magic, Media, Labex Art-H2H.
In her sound installations, often an electroacoustic sound is accompanied by a visual aspect. The technique and capacity of digital art in her works give an opportunity to work about topics such as distance from her country of origin, melancholy, femininity and contemporary urban spaces. Since 2002, she has exhibited in Iran, France, Chile, Greece, Myanmar, Mexico, South Korea, Portugal, Sweden, Dubai, Finland, Spain and the United States.

Haleh Jamali – The End of the Beginning 2018, 3:15
color, stereo sound, video // Performer: Maral Shafaatdoost

This work explores different stages of loss and hardship. Here we don’t enter and leave each individual stage in a linear fashion. We may spend different lengths of time working through each step and express each stage with different levels of intensity.

Haleh Jamali
is a multimedia artist, based in Glasgow. She was born and raised in Iran before moving to the United Kingdom in 2005. After a BA in painting from Azad Tehran University (2001–2005), she obtained a Master’s degree in Art and Media from Westminster University in London. The representation of the face and body in her works is an essential way to approach the social causes that affect our private lives, particularly for women, the problems of immigration, exile, and human rights, not to mention populations in extreme poverty and vulnerability. His multidisciplinary work is exhibited in several international festivals and exhibitions such as the Casablanca Video Art Festival, Les Instants Video Festival of Marseille, the video art festival of Koln in Geneva, Sweden, and the Time is Love exhibition in Buenos Aires. In September 2014, Haleh Jamali specialized in portrait painting using the sight-size method at Charles Cécile studio in Florence, Italy, and she is currently working on a new series of portraits entitled Resilience in respond to women’s empowerment movements #MeToo and Time’s Up.

Roxy Farhat – How Was Your Morning? 2018, 3:03
video, color, stereo sound

Our modern cities tend to be built for humans as economical creatures rather than biological. How Was Your Morning? It is a visual and humorous interpretation of the psychological aftermath of the morning commute in an environment that oppresses our flesh and blood in favor of efficiency and economy.

Born in 1984 in Tehran, Iran, Roxy Farhat
is a feminist filmmaker whose works combine politics, kitsch and popular culture subjects, with humor and unfailing seriousness. During the Iran-Iraq war in August 1986, her family left Iran when she was only 2.5 years old. Since then, she has felt divided between Iran and Sweden and feels that she is not Swedish or Iranian enough. As she told me: “I still care a lot about Iran, even though I am geographically and culturally distant from my country. In my lifetime, I have found myself in countless situations where, for various and racist reasons, I have not been accepted as ‘Swedish’ or ‘European.’”
In her video arts, she stages herself, provocative with clothes and extravagant styles to fight against certain overwhelming looks either by tradition or because religion imposes strict rules on women regarding their clothing and behavior. Farhat is an award-winning music video director and has worked with artists such as The Knife, Zhala and Gnucci. More recently, she directed “HUR,” a documentary art film, made in collaboration with young immigrant activists, which premiered at the Southbank Centre, London, in July 2017.

Sara Niroobakhsh – Rainfall from Practice makes perfect series, 2015, 7:52
Video, color, stereo sound, 7’52”

A woman with a bored face, made up and combed like an object woman sits on the floor. The repetitive act of cleaning rice becomes the unique emblem of its identity. Niroobakhsh refers to the political and religious powers in Iran, which limit women’s activities in society.

Sara Niroobakhsh
is a multidisciplinary Iranian artist living in Toronto, Canada.
Her performative and visual works explore a variety of subjects such as the social status of women and gender equality.
Niroobakhsh’s work evokes the situation of women by drawing them in the personal, mythological and cultural fields, addressing the semiotic theme of beauty, isolation, creativity and fertility.
Niroobakhsh’s work reflects the many archetypal faces and roles that Iranian women are forced to accept through traditional or political depressions.
Her recent exhibitions include the Czech China Contemporary Museum in Beijing, the Florida Museum of Photographic Arts and the CICA Museum in South Korea. Her famous work, Rice, was exhibited at Hamra Art Space, Beirut, 2015. As a result of this project, she received a residency award at the BAiR Spring Intensive at the Banff Centre for Arts and Creativity (Calgary, Canada, 2017).
The Party, her latest installation at Gallery 44, obtains a grant from the Ontario Arts Council.

Parya Vatankhah – Distance 2018, 1:40
Video, stereo sound, color, two version duration: 1’40” and 6’43”

Parya Vatankhah – Passage 2016, 3:00
Video performance, color, stereo sound, two version duration: 3’00” and 24’09”

Passage is about our limits in space and time. A woman, dressed in white, folded in a fetal position, struggles in a white, cramped space evoking imprisonment and suffocation. For me, white is the symbol of purity, birth and innocence, but it also represents the hospital universe (including psychiatric one).

It is about the reality and the dream: How do we travel in time, between our past and our future inside our dreams? Distances based on my recurring nightmare. This video could refer to a prison, to someone lost between real and unreal.

Parya Vatankhah
is an Iranian visual artist, living and working for several years in Paris. Her artistic practice is multidisciplinary and involves painting, photography, video, performance and installation.
She is interested in the contradictions of human thought and the existence of different realities for each of us in the face of a given situation, influenced by our past and by our private and social lives. The subjects of her work are nourished by her intimate and social experiments such as the Islamic revolution in Iran and its consequences on human rights violations and gender inequality, war, economic problems and also the experience of her immigration. Her works address the complexity of building oneself and knowing one’s own identity when the violence and suffering caused by political conflicts reach the intimate life. Her art is exhibited internationally in solo and group exhibitions, video art and contemporary art festivals, and at university conferences such as the Casablanca International Festival, Les instants vidéo de Marseille, London Feminist Film Festival, RMN-Grand Palais in Paris, Malmö̈ art center in Konsthall, Sweden and the Arad Art Museum in Romania. She is currently preparing a thesis in Aesthetics, Science and Technology of the Arts on the theme of the representation of the body in engaged and political art. She also teaches process project courses about the representation of the body in contemporary art at the Department of Fine Arts of the University of Paris 8.

Rojin Shafiei – Untitled 2015, 2:55
Video, stereo sound, black and white

This work explores how we can have different perceptions of our own body in relation to the place and context in which it is located? The artist explains that her motivation for creating this piece is that she did not feel safe through her female body in society, and even in the most intimate relationships in Iran.

Rojin Shafiei
(born in 1993) is an Iranian visual artist who lives and works in Montreal. In her art, video and installation are vehicles for the translation of her questions about society, particularly Iran, in relation to human rights, gender equality, freedom of expression and censorship. She presents these themes both through a literal documentary style and in the form of symbols. The subjects of her work are also inspired by the observation of routines in our contemporary lives, both in individual life and in urban societies.
Rojin received her BFA (Intermedia) from Concordia University in 2017 and has presented her work at the Rendez-Vous du Cinéma Québécois (Montreal), the Casablanca Festival of Video Art, Les Instants Vidéos in Marseille, the Mzansi Women’s Film Festival (Johannesburg), the Limited Access Video Festival (Tehran) and the Josiah Media Festival (San Antonio). She won the Startupfest Grand Prize, Artup section in July 2018.

Mozhgan Erfani – Khafaqan 2004, 1:19
Video, stereo sound, color

The Farsi word « Khafaqan » means stuffy, oppressive. The hands, in prayer position, confess us the isolation and the loss of their form and identity by getting covered gradually until being totally hidden by this words and blackend. Whispering « Khafaqan » simultaneously invade the ears to fortify the stuffy sensation for the spectator.

Mozhgan Erfani – Je me présente 2004, 1:18
Video, stereo sound, color, 1’18”

In « Je Me Présente » calligraphy loses its decoration function. The word written on the hands “Khafaqan” means “Oppressive” in Persian language.
“Khafaqan” gradually infects and invades both hands, so that they lose their own personal and distinctive shape; A sort of non-existence and loss of identity among the veiled women.

Mozhgan Erfani,
(born in 1973) is a visual artist, of Iranian origin, living in Paris.
She holds a Master’s degree in Fine Arts from the Sorbonne University. She chose immigration because she has suffered numerous arrests and repeated police custody by religious state guards for not wearing the veil and not respecting Islamic laws in the country. But her motivation to come to France was to go there to pursue her studies and artistic activities.
Her artistic practice includes short films, video installations, photographs and performances. Her works are essentially based on the intracorporeal and psychic female struggle of the Orient, caused by the opposition between morals and modernity, religion and lack of freedom.
She has exhibited in several museums, galleries and art festivals in several countries, such as the 3rd International Art Biennale in Moscow, Russia, the Pori Art Museum in Finland, the Gongju in Chungnam, South Korea, the Schneeberger Gallery in Münster, Germany.
She was selected by Persbook as the winner.

Golnaz MOSHIRIAN – I see myself, 2011, 5:59
Video, stereo sound, black and white

She staged with a shaved head, expressing her suffering and her revolt against a society that denies her identity as a woman.
An enigmatic, icy black and white image, accompanied by haunting music, reminds us of the black magic that accompanies our lives in societies without freedom of expression.

Golnaz Moshirian
is an Iranian visual artist, living and working in Paris. Since her childhood, she has had a passion for creating objects about what she thinks and what she care, something new that can touch the audience. She found that drawing, painting and other forms of visual arts are the proper tools for expressing her ideas.
These different artistic possibilities turned her into an interdisciplinary artist, to express her sensibility about the women and her situation in the different societies from east to west. Her works are also about the violence and sufferance all over the world which is caused by human-being.
During these years, she has worked and cooperated with different companies as an art director, graphic designer, digital painter, concept artist, and photographer. She has also made and directed video arts for different groups and companies.

ESTONIAN ACADEMY OF ARTS

Students videos 2010 –
curated by Raivo Kelomees

Jekaterina Kultajeva -„Pohhui“, 6:12, 2008
Kadri Erlenheim – „Heroin“, 2:13, 2008
Loore Emilie Raav – „Art Means Beautiful Things“, 2:32, 2009
Maria Fuset – „How to Be a Performer“, 1:19, 2009
Martinus Klemet, Gerda Märtens – „Vee valamine/Water“, 1:14, 2008
Mirja Majevski, Villem Jahu – „Paper Cuts“, 3:46, 2007
Remo Randver – „I Live Here“, 2:02, 2010
Stella Salumaa – „OOO“, 2:44, 2009
Hannes Aasamets Soundperformance – „Adjustment/Readjustments“, 6:54
August Sai – „MAP IS NOT THE TERRITORY“, 1:57
Oliver Laas – “Morning At 225 Miles”, 3:01, 2008
Hille Karm – „January 2010, temp -24C“, 4:43, 2010
Eleka Pajusaar – „Untitled“, 0:48, 2010

About the curator
Raivo Kelomees, b. 1960
Artist, critic and new media educator. Lives in Tallinn. Studied psychology, art history, and design in Tartu University and Academy of Arts in Tallinn. Presently working as a professor at Department of Media and Advertisement Design of Tartu Art College.
Wrote book on Surrealism (“Kunst Publishers” 1993); since 1985 more than 300 articles in main cultural and art magazines and newspapers of Estonia.
Participations in festivals of video and media art: French-Baltic Video Art Festivals – Grand Prix in 1994; WRO 95, Wroclaw; Second International Video and Electronic Art Manifestation in Montreal 1995, French-Baltic-Nordic Video and Electronic Art Festival, Riga 1997, 20th Tokyo Video Festival, 1998 (Silver Award), MuuMediaFestival in Helsinki (1998), Ars Electronica Mediathek (1999), 4th International Festival of New Film, Split (1999), ISEA 2000 (Paris), ISEA 2002 (Nagoya) and many others.

Read his interview in JIP – Javamuseum Interview Project

Beyond All Borders

curated by Yarina Butkovska

List of videos

part1
Kateryna Babkina (Ukraine) – Used to be Keys, 2007, 2:30
Kateryna Babkina (Ukraine) – No Sound, 2007, 1:50,
Borys Pasichniy and Julia Pavlovska (Ukraine) – Milk, 2007, 3:51
Oleg Ushchenko (Ukraine) – Genius, 2006, 1:25
Olexiy Khoroshko (Ukraine) – The Aim Of The Game, 2007, 4:20
Mykola Kondratenko (Ukraine) – Longing For Students, 2007, 3:47
Max Flood (Ukraine) – Let’s walk More, 2007, 1:49

part2
Svitlana Oleshko & Mykhaylo Barbara (Ukraine) – Stas Perfetsky is returning to Ukraine, 2005, 7:51
Viacheslav Poliakov (Ukraine) – Indoor-outdoor, 2007, 3:51
Oksana Chepelyk (Ukraine) – Shifting Time, 2004, 6:00
Oksana Chepelyk (Ukraine) – Premonition of War, 2014, 9:34
Yuriy Kruchak (Ukraine) – Showcase: 2:49, 2006
Yuriy Kruchak (Ukraine) – Benas: 0:57, 2007

About the curator
Yarina Butkovska
journalist, author and presenter of different radio projects, writer, DJ, editor, reporter, curator
Born in August, 4th,1982 in Ternopil, Ukraine. Lives and works in Lviv, Ukraine.
1999 – 2004, studying in Lviv National University on journalism faculty
2000 – 2003, Radio «Initiative» 102.5 fm
Author and presenter of projects on cultural and social thematic, DJ: «Radiometro», «Pret a porte», «Art review», «Virmenska, 35th », «CinemaTest», «Radio theatre»…
2002 – 2003, Radio «Lviv wave» – Journalist in newsroom: reporter, editor
2003 – 2005, TV channel «HTA» – Journalist in newsroom: cultural and social thematic reporting
2005 – 2007, Radio «Ternopil» – Editor in news department
2007– 2008 – curator of the First International Festival of Videoart «Kinolevchyk»
From 2006 р. studying «Scenic language» and «Actor skill» in the actor studio of Les Kurbas Youth Theatre in Lviv.

WOW – We Will Fail – curated by Wilfried Agricola de Cologne
Olga Ozieranska (Poland) – We will fail, 2015, 4’22”
Ninfa Sánchez & Karen Vilchis (Mexico) – Absence – Breve Ausencia, 2014, 5′ 35”
Francois Knoetze (South Africa) – CAPE MONGO – PAPER, 2015, 5:00
Ausin Sainz (Spain) – 3 2, 1 Liberty, 2015, 4:44
Gabriele Stellbaum (Deutschland) – “ill-timed moments”, 2013, 3:20
Francesca Lolli (Italy) – The last day of humanity , 2014, 01:49

WOW – Art Is Indivisible – curated by Wilfried Agricola de Cologne
Anca Bucur (Romania) – The confession of an aphasic writer, 2014, 3’31”
Gregg Biermann (USA) – Iterations, 2014, 5:37
Machia & Lolina (UK) – Chamelion Seeking Colour, 2015, 7’ 40″
Emil Zenko & Evgenij Romashov (Belarus) – Maslenitsa, 2015, 2:28
Valerio DE BONIS (Italy) – “I would claw my eyes out”, 2015, 9:00
Francesca Fini (Italy) – Virus, 2012, 5:00

WOW – We Are One Place I
Curated by Wilfried Agricola de Cologne
Lauris Kalnins (Latvia) – little black shit wants to communicate, 2012, 2:20
Diego de los Campos Orefice (Uruguay) – Meatman, 2011, 5:12
Yiotis Vrantzas (Greece) – Phone call from Cairo, 2012, 4:55
Yuval Yairi & Zohar Kawaharada (Israel) – Land, 2013, 4:36
Liu Wei (China) – Hopeless Land, 2009, 7:28
Owen Eric Wood (Canada) – Holobomo, 2009, 4:25
Roelof Broekman (The Netherlands) – Metropolis, 2016, 01:51
Junho Oh (South Korea) – My identity by web application, 2010, 1:00

About the curator
Agricola de Cologne
interdisciplinary media artist, director of experimental shortfilms and videos, curator of media art and the designer of culture (2000- )
founder & director of artvideoKOELN – the curatorial initiative „art & moving images“ (2005 – ),
founder and director of The NewMuseum of Networked Art –the experimental platform for art and new media (2000), a global network on different virtual and physical levels
Besides for a broad bandwidth of dynamic curatorial contexts he is initiating in physical & virtual space like JavaMuseum (2001), NewMediaFest (2002), Violence Online Festival (2003), SoundLAB & VideoChannel (2004), CologneOFF (2005), netEX (2007), Agricola de Cologne is standing also for the co-curator & co-organiser of events like festivals & exhibitions of contemporary art, but also for the jury member of divers festivals.

Henry Gwiazda

is a new media artist whose artistic trajectory has taken him from sampling, sound effects, and immersive technologies to his current work with new media. This new work is a comprehensive artistic approach that has resulted in work that is multimedia in nature and focused on movement His work is available on Innova Recordings.

VIP – VideoChannel Interview
https://vip.retro2020.nmartproject.net/?page_id=90

selection 1
Henry Gwiazda (USA) –footballcloud practice, 2005, 1’29″

Henry Gwiazda (USA) – A Dollhouse is….05:48 (2007) –
Henry Gwiazda (USA) – on the roof, 2008, 4′16″
Henry Gwiazda (USA) – something/the/you – 4’58” (2009)
Henry Gwiazda (USA) – Claudia & Paul 4:55 p.m, 2009, 1:00
Henry Gwiazda (USA) – Being Young, 2009, 1:52
Henry Gwiazda (USA) – thankfully,….finally, 2009, 3:10

selection2
Henry Gwiazda (USA) – beautiful politics, 2012, 9’10”
Henry Gwiazda (USA) – choice, 2012, 9’16”
Henry Gwiazda (USA) – the other reason, 2013, 7’45”
Henry Gwiazda (USA) – knowledge, 2016, 3’0

Lena Nosenko (Ukraine) – Wait form me, 2010, 4:35
Alexander Isaenko (Ukraine) – Changing Point, 2010, 6:00
Y. Kruchak, Y. Kostereva (UA)- The 7th of November, 2009, 3:36
Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46
Kostia Vozniuk (Ukraine) – Woman in her own room, 2017, 04′ 08”
Lidia Starodubtseva (Ukraine) – Time is Up, 2018, 4:00

Oksana Chepelyk (Ukraine) – Urban Multimedia Utopia, 2002, 10:00,
Vera Abakumova (Ukraine) – Self-fullfillment, 2011, 7:40
Nataliia Mashtaler (Ukraine) – Demonstration Lesson, 2012, 13:40

NewMediaFest 2020 selection

part 1
Lisi Prada (Spain) – Haiku Time, 2012, 5:07
Maria Korporal (Netherlands) – {Naked}, 2012, 4:01
Maya Watanabe (Peru) – A-phan-ousia, 2008, 4:45 **
Ana Rodriguez Leon (Spain) – Bell & Howell 2146 XL, 2011, 9:00 **
Moritz Fingerhut (Germany) – Viewers can, 2013, 6:00

part 2
Manuel Saiz (Spain) – Sic Transit, 2009, 5:00 **
Laura Petrilla & Brooke Schooles (USA) – Wrong Me A Love Life, 2012, 4:50 **
Pasquale Polidori (Italy) – Manifest Form; Amelia Rosselli #3,2012, 8’01
Alberto Gemmi (Italy) – Go Burning Atacama Go, 2012, 5:40 *+
Surbhi Dewan (India) – If Cities were Lovers, 2013, 3:31
Román Reyes (Spain) The beauty and me, 2012, 2:44 **

part 3
Susanne Wiegner (Germany) – Just Midnight, 2010, 3:43
Alexander Delnevo (Italy) – Transhumances, 2012,3:48
Valerio Murat and Antonio Poce (Italy) – Meine Meimat, 2012, 4:32
Yi-Ling Wang (Taiwan) – The Act of Departing, 2014, 2:11
Alexandre Braga (Portugal, – From Within, 2013, 3:07
Fabian Heitzhausen & Maximilian Schmötzer(Germany) The conversation, 2011, 3:25
Erika Yeomans (USA) – Entr’acte – V, 2013, 3:50 **
Kamil Rapel (Poland) – Absence, 2013, 4:56
Maciej Piatek (Poland) – Love in the age of the EU / United Kingdom /2014, 2,25

part 4
Valerio DE BONIS (Italy) – “I would claw my eyes out”, 2015, 9:00
Jean Gabriel Periot (France) – Under Twilight, 204, 5:08
Ulf Kristiansen (Norway) – I feel you, 2012, 04:50
Khalil Charif (Brazil) – The messenger and his double, 2011, 2’47”
Marc Neys (Belgium) – 35°30″ 35′ N, 12° 36″ 0′ E, 2014, 03:48
Pierre & Jean Villemin (France) – Lake, 2012, 5:35

1 Minute Before 12 Memorial

The Wake Up! Memorial is adding a new commemorative site focussed on preserving the natural environment on Earth for future generations.
Artists working with audio-visual media were invited to submit works in order to sensitize the open-minded viewer.
As a term or catchword, “Climate Change” is ambivalent – it describes a process, development or state which can be reversible, as well as irreversible – reversible, this includes for an individual the option to take personally influence on one’s environment and prevent actively “the climate change” as an irreversible process or state – irreversible, it is too late to take any influence, and “climate change” means nothing else than the “Last Days” (of humanity, of the natural environment, the world as we know, etc). One has to accept the inevitable destiny. In its widest sense, “climate” can be understood as “environment”.

Wake Up! – Climate Change!

Open the project here

Selection 1
Fran Orallo (Spain) – Death Dance, 2017, 1:00
Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00
Silvana Dunat (Croatia) – The skies will always be above , 2019, 3:25
Laura & Sira Cabrera (Spain) – Climate Dementia, 2019, 3:51
Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46

selection2
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart: Limity jsme my, 2019, 10:00
Jonas Ersland (Norway)- Glacier Sans, 2019, 2:37
Michael Carmody & Elissa Goodrich (Australia) – Common Time, 2018, 12, 23
Adrien Gaumé (France) – Dry by innocence, 2018, 4’53”
Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12

selection 3
Marcha Schagen (NL) – Melt Less CO2, 2019, 3:48
Julio César Guzmán Villarpando (Bolivia) – The Positive Value Of Powerlessness, 2019, 05:20
Savio Leite (Brazil) – Lacrimosa, 2019, 3:00
Caryn Kline (USA) – Butterfly Disaster, 2019, 00:06:50
Farid Hamedi (Rohina) (Iran) – A Chair For All, 2019, 7:44

VIP – VideoChannel Interview Project
selected interviews 02

Ulf Kristiansen (Norway) – https://vip.nmartproject.net/?page_id=350
Henry Gwiazda USA)- https://vip.nmartproject.net/?page_id=90
Parya Vatankhah (Iran) – https://vip.nmartproject.net/?page_id=762
Oksana Chepelyk (Ukraine) – https://vip.nmartproject.net/?page_id=1722
Susanne Wiegner (Germany) – https://vip.nmartproject.net/?page_id=368
Marcantonio Lunardi (Italy) – https://vip.nmartproject.net/?page_id=907
Brit Bunkley (New Zealand) – https://vip.nmartproject.net/?page_id=1611
Pierre & Jean Villemin (France) – https://vip.nmartproject.net/?page_id=711
Erika Yeomans (USA) – https://vip.nmartproject.net/?page_id=356
Maciej Piatek (Poland) – https://vip.nmartproject.net/?page_id=2305
Lisi Prada (Spain) – https://vip.nmartproject.net/?page_id=2239
Maria Korporal (NL) – https://vip.nmartproject.net/?page_id=859
Alexander Isaenko (Ukraine) – https://vip.nmartproject.net/?page_id=716
Ausin Sainz (Spain) – https://vip.nmartproject.net/?page_id=1597
Francesca Fini (Italy) – https://vip.nmartproject.net/?page_id=656
Gabriele Stellbaum (Germany) – https://vip.nmartproject.net/?page_id=2303
Francois Knoetze (RSA) – https://vip.nmartproject.net/?page_id=1770
Yiotis Vrantzas (Greece) – https://vip.nmartproject.net/?page_id=903
Greg Biermann (USA) – https://vip.nmartproject.net/?page_id=1757
Laura Cabrera (Spain) – https://vip.nmartproject.net/?page_id=1591

AfterOnKawara.com (2016)

The Japanese Conceptualist Painter On Kawara, began in 1966 to create the “Today” series, otherwise known as his “Date Paintings”. These pieces followed very tightly constrained set of rules, that the work had to be painted in a day, be of one of three dimensions, and one of three colors. These works were contemplative, reflected on the moment, and became his dominant body of work from 1966 until his death in 2014.
AfterOnKawara.com takes Kawara’s Date Paintings and extends it to the Internet. According to a 2003 study, web links have an average life of 138 weeks, or 2.6 years. From an antiquarian sense, the notion of the longevity of internet culture is highly fugitive, as historians and conservationists often look at a span of 250 years as a benchmark for preservation.
In the same vein as the Data Paintings, AfterOnKawara.com gives the data in the same manner as Kawara’s, states the amount of time the site has been online, referring to its own ephemerality in that it could go down any day. The piece is durational, in that it will be online as long as Internet browser technology can support its code.

Enter the Project here

rtm-1

rtm2

rtm3

RTMark/The Yes Men – (1996-2010, Animation, Graphics, Writing)

In 1996, I sent samples of Haymarket RIOT video to two emerging artists, Igor Vamos and Jacques Servin, who were creating an anti-corporate tactical media group called RTMark. On seeing it, they asked me to join. RTMark was responsible for subversive media projects such as the Barbie Liberation Organization, the SimCopter Hack, and others. Eventually RTMark was invited to the Whitney Biennial and was awarded a Herb Alpert/Calarts Award

However, RTMark fake website projects gwbush.org and gatt.org spawned the next generation of projects under the name The Yes Men. I would work closely with the project until 2004 when I went to graduate school, where I continue to do 3D animation for the group until roughly 2010, when the creation of The Yes Lab would shift focus more from the group’s interventions to helping others create interventionist stunts.

Interview about RTMark on Wigged.net 2006

“This article was written in 2006 by Seth Thompson in conversation with Max Kauffmann of RTMark, (a Pseudonym for artist/theorist Patrick Lichty), an original member of RTMark, which would also become The Yes Men. In 2006, RTMark had become The Yes Men, and Lichty considers this article an epilogue of sorts.”

Facebooks (with David Guillo and Erik Zepka, 2016)

is a series of exhibitions in art galleries, art museums, art institutions and art biennales around the world, featuring a selection of unique printed books with Facebook timelines by prolific artists who make facebook a part of their daily practice. The series is curated by David Quiles Guilló, Patrick Lichty and Erik Zepka.

”‘Social Books’, ‘friend day videos’, and the like define nervous lines along social and algorithmic curation as forms of corporate definition of our collective identity. What then, when someone places their life online, and allows it to be algorithmically curated into an artifact like a ‘social book’, what do we have?”

Enter The Project here

2nd-1

2nd-2

Second Front (Secondfront.org, Co-Founder, with many others)
Second Front (Virtual Performance Art Collective, 2006-2019[?])
Second Front is the first performance art group in the online virtual world of Second Life. Founded in 2006, Second Front quickly grew to its current seven-member troupe that includes Gazira Babeli (Italy), Yael Gilks (London), Bibbe Hansen (New York), Doug Jarvis (Victoria), Scott Kildall (San Francisco), Patrick Lichty (Chicago) and Liz Solo (St. Johns).
Second Front has performed extensively both in-world and in galleries and museums. Though the artists perform remotely their performances have been shown live in New York, Los Angeles, Moscow, Brussels, Berlin, Vancouver and many other cities. The group has been written about in publications including ArtForum, Art in America, Realtime Arts (Australia), Exibart (Italy) and Digital Art, Second Edition (by Christiane Paul).

Enter the Project here

Patrick Lichty
Interview on JIP – JavaMuseum Interview Project – http://jip.javamuseum.org/?page_id=60
began working in New Media in North Canton, Ohio, USA. He obtained his MFA from Bowling Green State University, in Bowling Green, Ohio, USA in Computer Art in 2006 Patrick is an animator media artist, curator, and theorist exploring how media shape our perception of reality as well as the borders between the digital and the material. He is best known for his work with the virtual reality performance art group Second Front, and the animator of the activist group, The Yes Men. He is a CalArts/Herb Alpert Fellow and Whitney Biennial exhibitor as part of the collective RTMark. He has presented and exhibited internationally at numerous biennials and triennials (Yokohama, Venice, Performa, Maribor, Turin, Sundance), and conferences (ISEA, SIGGRAPH, Popular Culture Association, SLSA, SxSW). His book, “Variant Analyses: Interrogations of New Media Culture” was released by the Institute for Networked Culture He included in key books on Virtual and Augmented Reality, including the Oxford Handbook of Virtuality.

The World of Awe

World of Awe is a cross-disciplinary project centering around The Traveler’s Journal, an original narrative started in 1994 and completed in 2011. Set in an undetermined future past, the diaristic and epistolary narrative reveals the story of a lone traveler who searches for a lost treasure in a parallel world called Sunset/Sunrise. The portal to this world is on 419 East 6th Street in Manhattan.
The narrative first appeared in paintings, followed by performance and the early net art website Love Letters from a World of Awe in 1995. Since then, the project has expanded into other media including sculpture, installation, and Textworks. Digital culture and technology of the 80’s and 90’s are central to the narrative, functioning as literary and visual devices to form the identity of the traveler.

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Yael Kanarek
Through storytelling and translation, Kanarek reshapes cultural associations of language. Her work enters spaces of meaning determined by global networks and her observation of the Internet as a metaphorical space written in human and computer languages. In recent years, her creative practice centers on the dynamics and form of multilingualism and the synchronization of narrative with standard time.
Selected for the 2002 Whitney Biennial, exhibitions of her work also include The Drawing Center, New York; Beral Madra Contemporary Art, Istanbul; National Museum of Contemporary Art, Athens; CU Museum, Boulder; Cantor Arts Center, Stanford University; The Jewish Museum, New York; Exit Art; The Kitchen; American Museum of the Moving Image, New York; LIMN Gallery, San Francisco; Holster Projects, London; Wood Street Galleries, Pittsburgh; bitforms gallery, New York; Nelly Aman, Tel Aviv; Boston CyberArts Festival; HVCCA, Peekskill; Arena 1, Santa Monica; California College of the Arts, San Francisco; Orsini Palace, Bomarzo; and Sala Uno Gallery, Rome. Kanarek’s work has also been shown in New York at Kenny Schachter Contemporary, Silverstein Gallery, Ronald Feldman Gallery, Derek Eller Gallery, A.I.R Gallery, 303 Gallery, Schroeder Romero Gallery, and the Art in Embassies program of the US States Department.

Poem for Echelon

October 2001 | e-poetry net art

‘Poem for Echelon’ creates different visual-textual structures and randomly inserts key words that Echelon, big internet spy infrastructure is capturing around the internet. User can copy-paste the text and send it in e-mail. Echelon my sensor this poem and have some extra unnecessary work. Goal of such action is protest against invading in people private communication by intelligence service also without reason.
User can on the other hand enjoy visual-textual esthetic of the poem. Poem refer to visual poetry, ascii art, conceptual art and nonviolent form of protest known as sit-in.

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Jaka Železnikar
is a poet, artist and web developer based in Slovenia. Most of his work resides in investigative combination of poetry, visual art and networked programming.
His fist book was published in 1994 (poetry, short stories) and after that in 1996/97 focus of his creative work moved into realm of early net art and e-literature.
http://jaka.org

We not, 2006
This work takes words in the Wordnet database and then insert those words in an generic sentence : « WE verb word NOT word ». The new sentence is illustrated by photographs taken in the website Flickr according to the words in the sentence. This words combination creates as many pseudo-artistic publicity slogans as we want.

Enter the Project here

Grégory Chatonsky
Born in 1971 in Paris, France. Lives and works in Paris and Montreal.
Since the mid-1990s, Gregory Chatonsky has been working on the Web and mainly on his affectivity, leading him to question the identity and new narratives that emerge from the network.
From 2001, he began a long series on dislocation, aesthetics of the ruins and extinction as an artificial and natural phenomenon.
Over the years, he has turned to the ability of machines to produce results that resemble a human creation in an almost autonomous way.
These issues have become convergent thanks to the “artificial imagination” that uses the data accumulated on the Web as learning material to produce a similarity. In the context of a probable extinction of the human species, the network appears as a desperate attempt to create a monument in anticipation that would continue after our disappearance.

Grégory Chatonsky has participated in numerous solo and group exhibitions in France, Canada and abroad, including Terre Seconde (2019) at Palais de Tokyo, Je ressemblerai à ce que vous avez été (2019) at Tanneries, France Electronique (2018) in Toulouse, Terre/mer/signal (2018) at Rua Red Dublin, Imprimer le monde (2017) at Centre Pompidou, Capture: Submersion (2016) at Arts Santa Mònica, La condition post-photographique (2016) at Montréal, Walkers: Hollywood afterlives in art (2015) at Museum of the Moving Image in New York, Telofossils (2013) at MOCA Taipei, Erreur d’impression (2012) at Jeu de Paume.

He has been in residence in Cité Internationale des Arts (2019-2020), Icade (2018-2019), Abu Dhabi (2017), Taluen in Amazonian forest (2017), Colab in Auckland (2016), Hangar in Barcelona (2016), IMAL (2015), Villa Kujoyama in Kyoto (2014), CdA Enghein-les-Bains (2013), MOCA Taipei (2012), 3331 Arts Chiyoda in Tokyo (2012), Xiyitang, Shanghai, (2011), Les Inclassables in Montréal (2003), Abbaye royale de Fontevraud (2002). He received the Audi Talents Award in 2018 and is a resident at the Cité Internationale des Arts in Paris in 2019-2020.

In 1994 he founded Incident.net, one of the first netart collectives. He has taught at Le Fresnoy (2004-2005), at UQAM (2007-2014) and is an artist-researcher at the École Normale Supérieure de Paris. In 2019-2020, he is artistic director of a research-creation program at Artec. He is also artistic director of the Imago Research Centre (ENS, ENSBA and UNIGE).

Eisenstein’s Monster
Enter the project here

Chris Joseph
is a British/Canadian writer and artist who works primarily with electronic text, sound and image.
His past projects include ‘NRG’, a bicycle-powered interactive multimedia narrative created during his time as the first Digital Writer-in-Residence at the Institute of Creative Technologies in De Montfort University, Leicester, UK; ‘Animalamina’, a collection of interactive multimedia poetry for children; and the interactive multimedia fiction series ‘Inanimate Alice’ that has been incorporated into educational courses around the world. ‘Inanimate Alice’ is one of several collaborations with Canadian author Kate Pullinger, including ‘The Breathing Wall’ – a novel that responds to the reader’s rate of breathing – and the collaborative fiction ‘Flight Paths’.
He has been awarded the IBM Prize for New Media and was the recipient of the first ‘Premio per l’Arte Digitale’ awarded by the Italian Ministry of Culture, Department for Cultural and Environmental Heritage, National Museum for 21st Century Arts and the Fondazione Rosselli.

‘Hackney Girl’ (2003)
by Ian Flitman explores new narrative structures in digitally expanded cinema. It can be viewed one to one via the computer screen, or better still, be data-projected for a more communal cinematic experience.
The piece is a video-wall diary describing the artist’s journey from Hackney, London where there are significant immigrant populations of Turkish extraction, to Istanbul in Turkey where he decided to live. It is a love story documenting the artist’s involvement with Hackney Girl’s eponymous heroine, Yasemin Güvenç, a Turkish actress, who went back to Istanbul to work.
Still from Hackney Girl showing video-wall arrangement of movie clips
A central theme is that of environments and the people that populate them. As such it is a visual meditation on place and displacement. The camera thus follows the people who inhabit the scene as well as the scene itself. Each time you walk in a place like Hackney Marshes, the weather, the people and the path you take all conspire to give you another version of the same story: a walk in your environment. In effect, each time you play Hackney Girl, you get another walk.
The work draws on a visual library of nearly 600 stills and over 550 short movie clips to present this visual collage of static shots and moving images that also end in a freeze photo frame. This along with the three by three grid of alternately filling and emptying screens provides the piece’s staccato rhythm.
Hackney Girl has been shown in over a dozen media art festivals and galleries around the world including FILE in Brasil, EMAF in Germany and won the Best Narrative Award at the Flash In The Can Festival in Toronto in 2004. It is also on several university reading lists including MIT as a work of reference regarding non-linear narrative in film. The artist is now based in London.

Open the Project here

Ian Flitman
was born in 1963 and grew up in a southern suburb of London. His continuing interest in the arts has led him through successive periods of first poetry, then theatre, followed by film and digital media. He made two 16mm films having been involved in all stages of their execution having written, produced, directed and edited them (‘An Almost Selfish Film’- 8 mins 1991, ‘One Across’ – 16 mins 1994). He studied Software Systems for the Arts and Media (Bsc Hons) at the University of Hertfordshire. After teaching briefly on the degree he completed, Ian Flitman then went into the maelstrom of dotcoms. He produced work and campaigns for clients such as Coca-Cola, Philips, Channel 4 and the British government. In May 2002 he left London and moved to Istanbul, the story of which is documented in his online/DVD Rom project ‘Hackney Girl’. This project reflects his current interest in digital cinema and utilizes his past experience in storytelling, film and computer media. Ian is back in London, searching for funding to continue the work began in ‘Hackney Girl’ with a new piece he is currently writing.

A is for Apple
is a flash website project that uses the hypertext linking of interactive work to investigate a cryptography or hermeneutics of the apple. Using a series of associative links, the work looks for hidden meanings, coincidences, and insights that stem from the apple. The image of the apple leads to references and ideas borrowing from western metaphysics, popular culture, the history of cryptography, ideas of language, and psychoanalysis. The piece was constructed using the paradigm of collage. First paper collages were made that became the basis for Photoshop images. And then, in collaboration with flash animators Rob Whynot, Randy Knott, and Ron Gervais, animated and interactive pages were made.

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David Clark
is a media artist, filmmaker, and visual artist who has produced work for the internet, gallery installations, narrative films, and public art commissions.
His work has been screened at the Sundance Film Festival, SIGGRAPH, European Media Arts Festival, Transmediale, 2012 Winter Olympics, and the Museum of Moving Images in New York. He won First Prize at FILE2002, Sao Paulo and the ‘Best in Show’ at the 2003 SXSW Interactive Festival in Austin, Texas.
In 2006 the MICA Galleries in Baltimore organized a survey exhibition of his work. He has recently been included in two major surveys of electronic literature at museums in Mexico City and Barcelona. 88 Constellations for Wittgenstein was included in the Electronic Literature Collection #2 and won the $25,000 Lieutenant Governor of Nova Scotia Masterworks Award in 2011.
He teaches Expanded Media at NSCAD University in Halifax.

Reflection (hope and reconciliation) by: Michael Takeo Magruder – 11.200
Pervasive mass-media in the information age offers us a continuous stream of mediated realities. Countless events of varying and often questionable significance emerge as scrolling columns of headline news and then quickly fade into the soon-forgotten annals of our time.
Within this saturated datascape of history, there are singular defining moments that rise above the ubiquitous monotony of the everyday. These events shape the consciousness of individuals and nations alike by transcending their epoch, and are indelibly situated within greater historical overviews that inform the perceptions of both present and future generations.
In an era of unjust wars and monumental acts of terror, some of these events have eroded our most precious institutions and sustained fear within all strata of society, while others have instilled within us hope and offered us a means to reconcile our past transgressions.
Reflection (hope and reconciliation) re-mediates one such moment. Through the distillation of its aesthetic elements – images, words, voice, music – we experience the event with changed, but undiminished intensity.

Open the Project here

Michael Takeo Magruder
(b.1974, US/UK) is a visual artist and researcher who works with new media including real-time data, digital archives, immersive environments, mobile devices and virtual worlds. His practice explores concepts ranging from media criticism and aesthetic journalism to digital formalism and computational aesthetics, deploying Information Age technologies and systems to examine our networked, media-rich world.
In the last 20 years, Michael’s projects have been showcased in over 290 exhibitions in 35 countries, including Circulo de Bellas Artes, Madrid; the Courtauld Institute of Art, London; EAST International, Norwich; Eastside Projects, Birmingham; FACT, Liverpool; Georges Pompidou Center, Paris; KIBLA Multimedijski Center, Maribor; Nam June Paik Art Center, Seoul; QUAD, Derby; SESI’ Cultural Centre, São Paulo; Somerset House, London; Tokyo Metropolitan Museum of Photography; and Trans-Media-Akademie, Hellerau. His art has been funded by the Andy Warhol Foundation for the Visual Arts; Arts Council England; the Esmée Fairbairn Foundation; the EU Culture Programme; the Leverhulme Trust; the National Endowment for the Arts, US; and the National Lottery, UK. He has been commissioned by numerous public galleries in the UK and abroad and by the leading Internet Art portal Turbulence.org.

les belles infidèles (2011)
Les Belles Infidèles consists of a short story—written specifically for this project by Benjamin Rosenbaum—that has been translated and retranslated by more than 40 translators into 15 languages. The project is an exploration of the story’s compounding mutation as the translators attempt to make it work in different languages and cultures.
The term “les belles infidèles” comes from a 17th century quip by Gilles Ménage in which he compared a set of translations to an acquaintance of his: beautiful but unfaithful. The phrase has come to express the tension between making a translation seem natural in the target language versus keeping it as close as possible to the original text.
The project’s source code is available under a GNU Affero General Public License and the original short story can be used under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license.
Les Belles Infidèles is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the National Endowment for the Arts.

Open the Project here

Ethan Ham
is a visual artist living in New York City. Ethan’s former career as a game developer can be seen in the art he makes. The artworks often playful and demonstrate his continuing interest in the interaction between an artwork and its beholder. His work often explores themes of translation and mutation and take the form of literary/art hybrids, sculpture, and internet-based art. His art has been commissioned by Turbulence.org and Rhizome.org and has been exhibited at the PS122 Gallery (New York, NY), The National Portrait Gallery (Canberra, Australia), The Museum of Contemporary Art of Vojvodina (Novi Sad, Serbia), and on the websites of The Museum of Graphic Arts (Machida City, Japan) and The Museum of Contemporary Art (Badajoz, Spain).

Benjamin Rosenbaum’s
fiction has appeared in Harper’s, F&SF, McSweeney’s, Asimov’s, Strange Horizons, Nature, Infinite Matrix, LCRW, and in the collection The Ant King and other stories. He has been a party clown, a day care worker on a kibbutz in the Galilee, a student in Italy, a stay-at-home dad, and a programmer for Silicon Valley startups, the U.S. government, online fantasy games, the Swiss banks, and some people who import fruit and have custom SQL code to model their bananas ripening. He lives near Basel, Switzerland with his wife and two iron-willed children, who enjoy singing the 16th century Kabbalistic Shabbat hymn לכה דודי to the tune of “Zombies on Your Lawn.”

CIVILITIES
is a modular, collective fiction that brings together, in its final phase, some ten Montreal artists from a range of disciplines and backgrounds who offer diverse perspectives on “living together.” Working from interfaces representing public space, that of the community and of civitas, small stories emerge like windows onto more universal situations, onto a certain state of the world, somber and violent indeed. Confronted with growing global barbarity, the invited artists explore potential spaces of confidence, reconciliation and the cohabitation of persons, peoples and religions. From the rules of religious fundamentalisms to the movements of anonymous crowds in the city, the projects examine various aspects of social organization, cultural norms and the collective spaces of shared practices. Produced by the Agence TOPO, CIVILITIES is directed by Eva Quintas and Guy Asselin. The eight participating artists (August 2003) are: Mathieu Beauséjour, Pascal Contamine, Nathalie Dion, Isabelle Hayeur, Linda Hammond, Norman Nawrocky, Eva Quintas, Jean-Sébastien Roux.

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Agence TOPO
is an artistic organization dedicated to fictions and photography in relation with literature and new media. CIVILITIES is the fourth collective web project conducted by the Agence TOPO, after LIQUIDATION – a web-radio fiction (1998), FiXions – 5 photonovels on the web (1999) and VILANOVA (2002). The site is also a space for the dissemination, promotion and distribution of art CD-ROM’s that are independently created and produced. The showcase favours, though not exclusively, works that make creative use of text and image: fictions, poetic fictions and other interactive fantasies. Agence TOPO was founded and is directed by two Montreal artists, Michel Lefebvre and Eva Quintas, active in the field of media arts, digital imagery and multimedia writing.

Urbangs
la ville / the town – les hommes et les femmes qu’on y croise… men and women that we meet… / des gens comme vous et moi? people like you and me? / qui sont-ils? who are they? / à quoi pensent-ils? what are they thinking?

Open the project here

Tamara Lai
creates videos and media works using a poetic and often metaphorical syntax. These works appear as dreamlike images where fiction and reality meet. Sound, rhythm and movement still play a key role.
Her poetry, close to automatic writing, often operates a dangerous slip between the Self and the Other, in a deep introspection.
Video director, Tamara Lai turned to digital techniques in 1993: video, computer graphics and special effects, and the writing of interactive novels, stories and poetry (CD-Roms). Early web activist and network artist (1997), her research focuses on Net art / Web Art (sites, performances cam _ & _ cat, video conferences …), and especially the creation of participative digital spaces. Her works “between happening and ephemeral art”, have been part of the official selections of festivals and international events worldwide.

JIP – JavaMuseum Interview Project
selected interviews 01

Patrick Lichty (USA) – http://jip.javamuseum.org/?page_id=60
Tamara Lai (Belgium) – http://jip.javamuseum.org/?page_id=23
Chris Joseph (BABEL) – http://jip.javamuseum.org/?page_id=3
Ethan Ham (USA) – http://jip.javamuseum.org/?page_id=94

“soundSTORY”

explores the capabilities of sound as a tool for storytelling.

Enter SoundLab V – >here

4th World Orchestra, Mauro Arrighi, Tautvydas Bajarkevicius, Nat Bates, Andrea Callard, Bronwen Casson, Budhaditya Chattopadhyay, Matthew Claire, Jessica Curry, Martin Desloovere, Paul Devens, Marcin Dopieralski, Dorsey Dunn, Jared Dunne, Chad Eby, Edward Ficklin, Satoshi Fukushima, David Goard (unclejim), Ido Govrin, Scott F. Hall, Le Tuan Hung, Zoe Irvine, Margaret Jameson, Sirpa Jokinen, Leonel Kaplan, Jane Fenton Keane, Elsa Lankford, Dario Lazzaretto, les riches douaniers, Matt MacKissack, Isabelle Mairiaux, Wittwulf O.Malik, John Maters, Jenni Meredith, David Mooney, Jeff Morris, Monica Ong, Jo Pearson, John Plenge, Ailis Ni Riain, Roland Roos, Benjamin Rossignol, Khaled Sabsabi, Mukherjee Sayandeb, Janek Schaefer, Yolanda Spinola, Aleksei Stevens, Eldad Tsabary, Yohann Walter, Simon Whetham, Robyn Yost // Brendon Bussy, Garth Erasmus, Neo Muyanga, James Webb & James Sey, James Webb, Righard Kapp, Brydon Bolton, Julian Jonker // Coeval (Madrid), Xabi Erkizia (Basque Country), Roc Jiménez (EVOL) (Barcelona), Feran Fages (Barcelona), Rubén García (Valencia)

NewMediaFest 2020 selection

Mauro Arrighi
Jessica Curry
Dorsey Dunn
Les Riches Douaniers
Wittwulf Y. Malik
Scot f. Hall
Zoe Irvine
Leonel Kaplan
John Maters
Jeff Morris
Eldad Tsabary
Yohann Walter
Simon Whetham

SIP – SoundLab Interview Project
selected interviews 02

Scott F. Hall (USA) – http://sip.newmediafest.org/?page_id=54
Dario Lazzaretto (Italy) – http://sip.newmediafest.org/?page_id=456
4th World Orchestra – http://sip.newmediafest.org/?page_id=10
Mauro Arrighi – http://sip.newmediafest.org/?page_id=4
Tautvydas Bajarkevicius – http://sip.newmediafest.org/?page_id=6
Nat Bates – http://sip.newmediafest.org/?page_id=9
Jessica Curry – http://sip.newmediafest.org/?page_id=27
Martin Desloovere – http://sip.newmediafest.org/?page_id=28
Paul Devens – http://sip.newmediafest.org/?page_id=29
Dorsey Dunn – http://sip.newmediafest.org/?page_id=32
Jared Dunne – http://sip.newmediafest.org/?page_id=33
Chad Eby – http://sip.newmediafest.org/?page_id=35
Edward Ficklin – http://sip.newmediafest.org/?page_id=40
Ido Govrin – http://sip.newmediafest.org/?page_id=52
Le Tuan Hung – http://sip.newmediafest.org/?page_id=58
Zoe Irvine – http://sip.newmediafest.org/?page_id=59
Margaret Jameson – http://sip.newmediafest.org/?page_id=60
Sirpa Jokinen – http://sip.newmediafest.org/?page_id=61
Leonel Kaplan – http://sip.newmediafest.org/?page_id=62
Jane Fenton Keane – http://sip.newmediafest.org/?page_id=67
Elsa Lankford – http://sip.newmediafest.org/?page_id=68
Les Riches Douaniers – http://sip.newmediafest.org/?page_id=73
Matt MacKissaki – http://sip.newmediafest.org/?page_id=76
Isabelle Mairiaux – http://sip.newmediafest.org/?page_id=77
Wittwulf Y Malik – http://sip.newmediafest.org/?page_id=78
John Maters – http://sip.newmediafest.org/?page_id=79
Jenny Meredith – http://sip.newmediafest.org/?page_id=82
David Mooney – http://sip.newmediafest.org/?page_id=83
Jeff Morris – http://sip.newmediafest.org/?page_id=84
Jo Pearson – http://sip.newmediafest.org/?page_id=89
John Plenge – http://sip.newmediafest.org/?page_id=90
Bemjamin Rossignol – http://sip.newmediafest.org/?page_id=98
Khaled Sabsabi – http://sip.newmediafest.org/?page_id=101
Mukherjee Sadhandeb – http://sip.newmediafest.org/?page_id=103
Janek Schaefer – http://sip.newmediafest.org/?page_id=104
Jolanda Spinola – http://sip.newmediafest.org/?page_id=106
Alexei Stevens – http://sip.newmediafest.org/?page_id=107
Eldad Tsabary – http://sip.newmediafest.org/?page_id=111
Yohann Walter – http://sip.newmediafest.org/?page_id=114
Uncle Jim – http://sip.newmediafest.org/?page_id=50
Simon Whetham – http://sip.newmediafest.org/?page_id=115
Robyn Yost – http://sip.newmediafest.org/?page_id=118