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Aksioma – Institute for Contemporary Art, Ljubljana, in partnership
with Kunsthal Aarhus,<br>
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<div><font face="times new roman, serif">
transmediale 2015, Berlin and Abandon
Normal Devices, Manchester, presents:<br>
<br>
<b>Nicolas Maigret:</b><b> <i>The Pirate
Cinema</i></b><br>
<a moz-do-not-send="true"
href="www.aksioma.org/pirate.cinema">www.aksioma.org/pirate.cinema</a><br>
<br>
<b>Aksioma | Project Space</b><br>
Komenskega 18, Ljubljana, Slovenia<br>
21 January – 20 February 2015<br>
<br>
<b>Exhibition opening with lecture by
Geoff Cox: </b>Wednesday, 21 January
2015 at 7 pm<br>
<b><br>
Related events:</b><br>
- Launching of the online version of <i>The
Pirate Cinema </i>during the conference
<a moz-do-not-send="true"
href="http://www.artscouncil.org.uk/jobs-and-conferences/conferences/digital-utopias/"><i>Digital
Utopias</i></a> at Hull Truck Theatre
(UK): Tuesday, 20 January 2015<br>
- Performance <i>The Pirate Cinema</i> by
Nicolas Maigret at transmediale 2015 (DE):
Thursday, 29 January 2015, at 9 pm<br>
</font><font face="times new roman, serif">
<br>
<br>
</font> </div>
<div>
<div><font face="times new roman, serif">In
recent years, piracy and peer-to-peer
file sharing of audio-visual contents
have become a massive activity involving
millions of internet users, and one of
the main ways in which cinema is
experienced at home. This does not only
raise obvious copyright and legal
issues, and not only floods us with
poor, downgraded versions of the
hi-quality original but also potentially
challenges cinema’s materiality and the
idea of a movie as a linear narrative.</font></div>
<div><font face="times new roman, serif"><br>
</font></div>
<div><font face="times new roman, serif">The
Peer-to-Peer Sharing protocol is based
on small samples file fragmentation.
This fragmentation smoothes the exchange
between different recipients: when all
the “chunks” have been downloaded, the
file can then be reconstructed sample by
sample until completion, from chaotic
scraps received from distinct users.
This hidden architecture reveals
extraordinary narrative implications,
automatizing and randomizing the remix
processes widely used in art since the
Avant-gardes. </font></div>
<div><font face="times new roman, serif"><br>
</font></div>
<div><font face="times new roman, serif"><i>The
Pirate Cinema </i>takes off from here
to make the hidden activity and
geography of Peer-to-Peer file sharing
visible. The project is presented as a
monitoring room, which shows
Peer-to-Peer transfers happening in real
time on networks using the BitTorrent
protocol. The installation produces an
arbitrary cut-up of the files currently
being exchanged. This immediate and
fragmentary rendering of online
activity, with information concerning
its source and destination, thus depicts
the topology of digital media
consumption and uncontrolled content
dissemination in a connected world.</font></div>
<div><font face="times new roman, serif"><br>
</font></div>
<div><font face="times new roman, serif"><i>The
Pirate Cinema</i> is based on a data
interception software. It reveals,
through a simple diversion, different
aspects of exchange platforms, such as
the global and multi-situated nature of
Peer-to-Peer networks (P2P), the
potential for viral transmission, and
alternative social models. Its purpose
is to make available for aesthetic
exploration the pre-existing potentials
of Peer-to-Peer architectures. The
installation of <i>The Pirate Cinema</i>
relies on an automated system that
constantly monitors the most viewed
torrents. The intercepted data is
immediately projected onto a screen,
after which it is discarded. The 3
screens installation at Aksioma Project
Space visualizes fragmentary files
received and sent all over the world.</font></div>
<div><font face="times new roman, serif"><br>
</font></div>
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<div><font face="times new roman, serif"><b><br>
</b></font></div>
<div>
<div><b><font face="times new roman, serif"><i>Real-time
for Pirate Cinema</i>, lecture by
Geoff Cox</font></b></div>
<div><font face="times new roman, serif">As
a portrait of the network in real-time,<i>
Pirate Cinema</i> somewhat reflects
the temporal complexity of the world now
in the coming together of different
co-existing ways of being in time. In
the talk Geoff Cox wants to suggest that
<i>Pirate Cinema </i>might allow us to
better understand the dynamics of
networked technologies and some of the
defining conditions of globalization
that underpin the cultural logic of our
times.</font></div>
<div><font face="times new roman, serif">The
lecture is based on Geoff Cox essay,
which was commissioned for the Aksioma's
new series of brochures <i>PostScriptUM</i>.
<a moz-do-not-send="true"
href="http://www.aksioma.org/brochures"
target="_blank">www.aksioma.org/brochures</a></font></div>
<div><font face="times new roman, serif"><br>
</font></div>
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<div><font face="times new roman, serif"><i
style="font-weight:bold">The Pirate
Cinema </i>(Online)</font></div>
<div><font face="times new roman, serif"><a
moz-do-not-send="true"
href="http://www.andfestival.org.uk"
target="_blank">Abandon Normal Devices</a>
(UK), <a moz-do-not-send="true"
href="http://www.aksioma.org"
target="_blank">Aksioma - Institute
for Contemporary Art, Ljubljana </a>(SI)
and <a moz-do-not-send="true"
href="http://kunsthalaarhus.dk/en"
target="_blank">Kunsthal Aarhus</a>
(DK), in partnership with <a
moz-do-not-send="true"
href="http://transmediale.de"
target="_blank">transmediale </a>(DE)
have co-commissioned a new version of <i>The
Pirate Cinema</i> project that will be
available online at <a
moz-do-not-send="true"
href="http://thepiratecinema.com/online"
target="_blank">thepiratecinema.com/online</a>
from January 20, 2015 onwards. <i>TPC
(Online) </i>has been developed with
the support of <a
moz-do-not-send="true"
href="http://mur.at" target="_blank">mur.at
</a>(A) and <a moz-do-not-send="true"
href="http://creacast.com"
target="_blank">creacast.com</a> (F),
and was realized in the framework of <a
moz-do-not-send="true"
href="http://www.mastersandservers.org"
target="_blank">Masters & Servers</a>,
an European adventure focused on a new
generation of digital interventionism.</font></div>
</div>
<div><font face="times new roman, serif"><br>
</font></div>
<div>
<div><font face="times new roman, serif">The
official release of the co-commission
will happen in Hull (UK) during the
conference <a moz-do-not-send="true"
href="http://www.artscouncil.org.uk/jobs-and-conferences/conferences/digital-utopias/"
target="_blank"><i>Digital Utopias</i></a>,
an Arts Council initiative curated by
Abandon Normal Devices as a trailblazer
event for Hull City of Culture 2017.</font></div>
</div>
<div><font face="times new roman, serif"></font><br>
</div>
<div><font face="times new roman, serif"><br>
</font></div>
<div>
<div><font face="times new roman, serif"><b>Nicolas
Maigret</b> exposes the internal
workings of media, through an
exploration of their dysfunctions,
limitations or failure thresholds which
he develops sensory and immersive audio
visual experiences. As a curator, he
initiated the <a moz-do-not-send="true"
href="http://disnovation.net"
target="_blank">disnovation.net</a>
research, a critique of the innovation
propaganda. He teaches at Parsons Paris
and cofounded the Art of Failure
collective in 2006. His work has been
presented in international exhibitions
and festivals: transmediale (Berlin) -
File (Sao Paulo) - Museum of Art and
Design (New York) - 30th Chaos
Communication Congress (Hamburg) - NWFF
(Seattle) - SAIC (Chicago) - China
Museum of Digital Arts (Beijing) - The
Pirate Bay 10th Anniversary (Stockholm)
- Palais de Tokyo (Paris) - Eastern Bloc
(Montreal) - Gli.tc/h (Birmingham).</font></div>
<div><br>
</div>
<div><font face="times new roman, serif"><b>Geoff
Cox </b>(UK) is Associate Professor
in the Dept. of Aesthetics and
Communication, and Participatory IT
Research Centre, Aarhus University (DK),
and Adjunct faculty Transart Institute
(DE/US). His research interests lie in
the areas of contemporary art and
performance, software studies and
network culture. He is an editor for the
DATA Browser book series (published by
Autonomedia). With Alex McLean, he wrote
Speaking Code: coding as aesthetic and
political expression (MIT Press 2012).</font></div>
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<div><font face="times new roman, serif"><br>
</font></div>
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<div><font face="times new roman, serif"><b>Production
of the exhibition:</b> Aksioma -
Institute for Contemporary Art,
Ljubljana, 2015</font></div>
<div><font face="times new roman, serif"><br>
</font></div>
<div><font face="times new roman, serif">Artistic
Director: Janez Janša</font></div>
<div><font face="times new roman, serif">Producer:
Marcela Okretič</font></div>
<div><font face="times new roman, serif">Executive
Producer: Sonja Grdina</font></div>
<div><font face="times new roman, serif">Public
Relations: Hana Ostan Ožbolt</font></div>
<div><font face="times new roman, serif">Technician:
Valter Udovičić</font></div>
<div><font face="times new roman, serif">Documentation:
Adriana Aleksić</font></div>
<div><font face="times new roman, serif"><br>
</font></div>
<div><font face="times new roman, serif"><b>Presented
in partnership with</b> Kunsthal
Aarhus (DK), transmediale 2015 (DE) and
Abandon Normal Devices (UK).</font></div>
</div>
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<div><i><span style="font-family:'times new
roman',serif">The Pirate Cinema is a
project developed with the support of
ArtKillArt (F), CNC / DICREAM, La Maison
populaire, Conseil Général de
Seine-Saint-Denis (F), Eastern Bloc
(CA).</span><br>
</i></div>
<div>
<p style="text-align:justify"><font
face="times new roman, serif"><i>The
Pirate Cinema </i>is realized in the
framework of <b>Masters & Servers</b>,
a joint project by Aksioma (SI), Drugo
more (HR), AND (UK), Link Art Center
(IT) and d-i-n-a / The Influencers (ES).</font></p>
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<div><font face="times new roman, serif"><br>
</font></div>
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<div><small><font face="times new roman,
serif">This project has been funded
with support from the European
Commission. This communication
reflects the views only of the author,
and the Commission cannot be held
responsible for any use which may be
made of the information contained
therein.</font></small></div>
<div><font face="times new roman, serif"></font><font
face="times new roman, serif"></font> </div>
</div>
<div><font face="times new roman, serif"><b>Supported
by:</b> Creative Europe Programme of the
European Union, the Ministry of Culture of
the Republic of Slovenia, the Municipality
of Ljubljana, Institut français de
Slovénie</font></div>
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style="font-family:'times new
roman',serif"> </span><br>
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<div><font face="times new roman, serif"><b>Partners
for technical equipment:</b> Zavod
Projekt Atol, Forum Ljubljana</font></div>
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<pre class="moz-signature" cols="72">--
Marcela Okretič
Aksioma | Zavod za sodobne umetnosti, Ljubljana
Neubergerjeva 25, 1000 Ljubljana, Slovenija
Aksioma | Projektni prostor
Komenskega 18, 1000 Ljubljana, Slovenija
tel.: + 386 – (0)590 54360
gsm: + 386 – (0)41 – 250830
e-pošta: <a class="moz-txt-link-abbreviated" href="mailto:marcela@aksioma.org">marcela@aksioma.org</a>
<a class="moz-txt-link-abbreviated" href="http://www.aksioma.org">www.aksioma.org</a>
</pre>
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