[spectre] In Between Categories / Displays for Becoming Present / Exhibiting Networking

[carsten stabenow]

Discourse / Diskurs: STRUCTURES NODE 3 - In Between Categories

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// Date: Fri - Sun, 20. - 22.11-2009
// Time: Fri, 20:00; Sat, 14:30; Sun, 17:00
// Freier Eintritt | Entrance free
// Sprache: wenn nicht anders angegeben in englischer Sprache
// Language: mainly in English if not advised differently

>  Day|Tag 1&2 präsentiert von | presented by Dock e.V.
>  Day|Tag 3 präsentiert von | presented by DISK/CTM


Art and music in the media context are transdisciplinary practices
that intersect in manifold ways with the visual arts, science and
technology, the creative economy, Pop and other subcultures,
performance and also New Music. They are oriented to processual work
formats within and with networks. This simultaneously makes them
translocal. Which in turn often leaves them stranded on the fence,
not only in aesthetic terms but socially and politically too. At the
same time, demands are raining in from all sides for creative
synergies, allegedly the solution to every conceivable challenge in
an increasingly complex world. This discrepancy - between the lack of
public awareness of activities that have long since been around and
the 'future viability' ascribed to the same or similar 'newly
emerged' ideas and practices - could well be caused at root by the
relative invisibility of networks and the difficulties involved in
developing a profile for network cultures. Within the Urbanism
discourse at least, the cityscape-role of finely networked, creative
processes in constant motion and flux is now up for reappraisal. Can
existing structures - be they cultural-political tools, institutions,
groups or venues - resolve this contradiction and develop
accordingly? Or is a new scope for activity truly opening up, one
that requires new initiatives, structures and venues?  


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Day 1 - 20. November 2009

20:00  Lecture
ART AND MEDIA IN BERLIN - PAST PRESENT FUTURE

with Andreas Broekmann (DE), Martin Howse (UK), James Wallbank (UK),
Carsten Seiffarth (DE), Carsten Stabenow (DE) and others.

Dock/Platform takes off from an appraisal as well as concrete visions
of the protagonists for the conditions of production and presentation
of art with media in Berlin. The Publication "Wegweiser Kunst und
Medien in Berlin" will be presented, which has been commissioned by
mikro e.V. has was edited by Andreas Broekmann and Carsten Seiffarth.
The publication portraits 33 Berlin initiatives and institutions
active in the field of art and media culture.
Details: http://www.dock-berlin.de/?page_id=494

22:00 Sound Performance

MARIO DE VEGA (Mx)
A sound performance by mexican artist Mario de Vega utilizing motors,
needles, aplified objects and other electronics.


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Day 2 - 21. November 2009

DISPLAYS FOR BECOMING PRESENT / EXHIBITING NETWORKING
Conference: DISPLAYS FOR BECOMING PRESENT / EXHIBITING NETWORKS The
conference is a public brainstrom about spatial conceptualizations of
artistic projects of translocal and transdisciplinary nature. The
conference involving artists, architects, reaearchers, curators and
theoreticians is thematically based on two threads: space and
network. The conference is curated by Doreen Mende, who was awarded
the Dock-Curatorial-Residency.

14:30  Part 1

Beryl Graham (Curator, Universität Sunderland, crumbweb.org, UK) +
Agnes Meyer Brandis (Artist, DE) & Herwig Weiser (Artist, AT).
Respondent: Alexander Klose (Author and Researcher, DE)

16:00 Part 2

Peter Mörtenböck (architect, networkedcultures.org), Peter Hanappe
(Sony Computer Science Laboratory, Paris)
Respondent: Sabeth Buchmann (professor for art and theory, Vienna)

16:30 Part 3

Nikolaus Hirsch (architect, culturalspaces.in), Trebor Scholz (New
School in New York, digitallabor.org)
Respondent: Stefan Römer (professor for media theory and conceptual artist)

20:00 Final Discussion
With all participants.

22:00 Performance
"Open Core" by Julien Maire (FR)


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Day 3 - 22. November 2009

17:00  Lecture (in German)
THE TRICK LIAISON OF CONTEMPORY COMPOSITION (NEUE MUSIK) AND EXPERIMENTAL POP
by Dahlia Borsche (DE)

The grey zone between Contemporary Music and experimental Pop is an
ideological minefield, on which both sides are armed to the teeth
with prejudice and defensive attitudes and yet, for quite some time
already, mutual exchange in terms of music and content has been
fruitful and fun. This on-off love-hate relationship is a
longstanding tradition of knee-jerk responses that put more ingenuous
rapprochement on hold. But, with a little insight into the roots of
these traditions, one can not only dislodge tired prejudice and
diminish mistrust but also open the door to more profitable forms of
cooperation, with which the grey zone could at last leave its shadowy
existence behind.

18:30 Panel Discussion

SOUND AND MEDIA IN BERLIN
With Honor Harger (guest curator transmediale, UK), Robert Henke
(Musician/artist/developer, DE, requested), Farahnaz Hatam (NK,
Berlin), Gregor Hotz (Ausland, DE), Jan Rohlf (DISK/CTM, DE) and
others.
Chaired by: Pit Schultz (Herbstradio, DE)

When people talk about 'media arts', they not infrequently mean music
and artistic work with sounds. Yet what exactly is this 'music with
media'? Why does it play such a major role in media arts discourse?
Where does it take place? Why is never really named as such? Are the
available terminologies, venues and initiatives adequate?

20:00 Screening

COLORFIELD VARIATIONS
2009, 80 min.
Colorfield Variations is a collection of audio/visual works
reinterpreting the Color Field movement by an international array of
critically acclaimed sound and new media artists and assembled by
curator and sound artist Richard Chartier.


Color Field painting, an abstract style that emerged as a new
direction in American painting in the 1950s following Abstract
Expressionism, is characterized by canvases painted primarily with
stripes, washes and fields of solid color. An
alternate but less frequently encountered term for this style is
chromatic abstraction. As the first critically acclaimed art
 movement to originate in the United States's capital, the Washington
Color School was key to the larger Color Field  movement. As a
reaction to the emotional energy and gestural surfaces of Abstract
Expressionists, the Color Field artists  broke away from the
individual mark in favor of pure color itself becoming the main
content of the work. By breaking  painting down to its formal and
fundamental elements, the Color Field artists created pure,
simplified, large-format,  color-dominated fields on often monumental
scale utilizing the full psychological power of color.  Artists such
as Clyfford Still, Mark Rothko, Barnett Newman, Morris Louis, Kenneth
Noland, Helen Frankenthaler, Sam Gilliam, Larry Poons, Gene Davis,
Jules Olitski, and others eliminated recognizable imagery from their
canvas and presented abstraction as an end in itself with each work
being a cohesive image. The Color Field movement can be seen as a
precursor to the themes and aesthetics of the subsequent Minimalist
movement.
With Works by: Steve Roden (US), Alan Callander (US), Frank
Bretschneider (DE), Stephan Mathieu (DE), Sue Costabile (US) +
Beequeen (NL), Tez (IT), Tina Frank + General Magic (AT), Bas van
Koolwijk (NL), Chris Carter + Cosey Fanni Tutti (UK), Ryoichi
Kurokawa (JP), Sawako (JP), E. Domnitch + D. Gelfand (RU/US), Ernest
Edmonds (AU) + Mark Fell (UK)
http://www.3particles.com



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Further Information:
http://www.dock-berlin.de/
http://www.generalpublic.de

Funded by:
Hauptstadtkulturfonds