Surfacing after a long, leisurely weekend is never easy. But with intriguing reading in front of me, I can slowly come to life again and focus on the week (short week!) before me….
Catching up on my Art Radar Asia – this is truly the ideal model for an arts news blog. It is authentically international in scope and presents a wide range of artists, themes, interviews and essays. It isn’t heavy with jargon or an insiders’ lexicon, but if you want to go there – you can.
Although the images are nothing to see, I was interested in Antoanetta Ivanova’s lecture at Art Taipei about new media trends in Australian art. First of all, her company Novamedia is apparently Australia’s first media art agency and it sounds like a brilliant idea. It is entirely dedicated to promoting Australian media and digital art by consulting with private collectors and organizations interested in acquiring work, as well as guest curating exhibitions.
It is naturally the artists that also grabbed me; so many of them are doing work that is interactive. Can you picture that? How long before our televisions are touch screens and you can download work to your television screen that is interactive in nature??
Jon McCormack work is particularly interesting to look at because – for one thing – he writes his own code, and his Turbulence: A Museum of Unnatural History from 1994 (!) seems eerily prescient of our present questions between of art, technology, and the museum. The installation created a dark museumized interior (think jars of gooey specimens) with touch screens enabling visitors to help generate artificial forms that are actually “evolving” out of the computer program, conjuring virtual organisms and amoebic “life” forms.
Mari Velonaki’s interactive installation work seems to work more with robots – but again, the level of interactivity is fascinating where the presence of visitors in one work actually governs the life and death span of one of her female characters. Hmmm, as I write that, I wonder if I have seen this work at SFMOMA a few years ago.
Lynette Wallworth also caught my eye because of her interest in immersive video environments that require interaction between viewers – rather than the usual passive blank staring on autonomous little bean bags or benches….the work described in Ivanova’s talk involves a glass bowl that people hold to “capture” light beams around the room and then pass the bowl to “share” the light. Love the acknowledgement of others experiencing the art, and the forced little “community” that needs to instantly congregate to make the art work.
The painterly quality of Tina Gonsalves reminded me a lot of ShinyArt’s Florent Cordier, who has posted some new work, by the way! Buffering issues are still plaguing us, but rest assured, help is on the way!
G’day mates! sorry for the stereotype……