Центърът за култура и дебат “Червената
къща “Андрей Николов” (ул. “Любен Каравелов” 15)
ви кани в зали Безименна и Гъливер
на
изложба на група Ултрафутуро
(Боряна Росса, Олег Мавромартти, Антон Терзиев, Катя Дамянова, Мирослав
Димитров)
1 април-22 април
Откриване
1 април (вторник), от 18.30 ч.
Закриване с пърформанса „До последен дъх“
22 април (четвъртък), от 18.30 ч.
Заговорът на кастратите
(Копие от оригинала, оригинал от копието)
За живото и мъртвото, 2006, Rencontre internationale d’art performance (RIAP), Le Lieu – Centre for actual art, Galerie Rouje, Квебек сити
Първата възможност да се види фото и видео документация от някои от пърформансите на група Ултрафутуро, направени в последните три години в България, САЩ и Канада. На откриването, както и на 22 април, ще бъдат показани пърформанси и на живо.
Идеята да бъде показана документацията, като произведение на изкуството, е основната тема на изложбата. Репрезентацията на изкуството посредством документация и особено на тези жанрове, които са свързани с конкретно време, място и ситуация (пърформанс арт, интервенция в общественото пространство, акция, хепънинг) не е нов проблем и се обсъжда още от началото на съществуването на тези жанрове. Напоследък обаче, тя придобива нови измерения, които са свързани с широката достъпност на дигитална техника за документиране (телефони с камери, дигитални фото и видео камери) и технологии за разпространение на информация (интернет, сателитни и телекомуникации). Блоговата култура даде възможност на всеки да „бъде медия“ и да разпространи „своята истина“. Представените фотографии и видеа са частично направени от членовете на групата, а в пърформанси като „Кръвно отмъщение“ (2007), „Цяло тяло“ (2007) и „За живото и мъртвото“ (2006) по покана на художниците, които раздават камери на желаещите да снимат по време на пърформанса, публиката е тази, която създава образите, запечатвайки своите индивидуални спомени.
Всеки един от пърфотрмансите има своя тема, като например критически поглед върху комерсиалното в изкуството в „Така го виждам“ (2007); конструиране и разпространение на мита - „Кръвно отмъщение 2“; медиираното насилие и дистанцията, която медийното изображение поставя между реалното случване и този, който го гледа в „За живото и мъртвото“ ; тялото на художника и неговите течности като художествена медия в „Червен кръст“ (2007) и „Paint-killer“ (2007); телесна буквализация на проблемите на езика и на невъзможността от комуникация представени в „Точно по текста“ (2006); символично действие, представящо стадий на съществуване на биологичното тяло, в което то не е детерминирано от пол, раса, националност, интелект, религия или финансово положение в „Цяло тяло“; и политически коментар на отношение между център и маргиналия в индивидуален и колективен план - „Европейски език“ (2005).
Изложбата представя около 70 фотографии и видеа от пърформансите, както и подробни текстове за идеята на пърформансите и описание на действието.
На откриването ще може да бъде видян на живо пърформансът „Кръвно отмъщение“ ироничен коментар на митологичната самокастрация на австрийския художник Рудолф Шварцкоглер (Акция 1, 2 и 3 - 1965), който е представен за първи път в галерия Exit Art, Ню Йорк и не е показван в България.
На 22 април, при закриването на изложбата ще бъде представен „До последен дъх“ също специално създаден за случая по легендарния пърформанс на френската художничка Джина Пан „Не-обезболено изкчаване“ - 1971.
Организира: Програма „Визуални изкуства“ към Червената къща
Вход свободен
За повече информация: Боряна Росса, Юлиана Наскова, 9888188, www.redhouse-sofia.org
По-подробно за идеята „Оригинал
от копието“:
От самото си създаване Ултрафутуро счита документацията за важен елемент
от работата си. Първоначално пърформансите са документирани подробно
от членовете на групата, които измислят различи начини за създаване
и съхраняване на образи и звуци по време на действието. Освен дигитални
камери са използвани и наблюдателни и уеб камери, свързани с телата
на пърформерите. В някои пърформанси са използвани също прибори като
електро-мио-граф, който регистрира напрежението на мускулите по време
на действието и го визуализира или превръща в звук.
Документацията става все по-важна за историята и репрезентацията на изкуството, особено за пърформанс изкуството или „живото“ изкуство (live art). Огромното количество дигитални документиращи устройства дават възможност да създаваме артефакти на „личната памет“ и да се привиждаме повече като „създатели на митологии“ отколкото като пасивни „читатели на митологии“. Въпреки че документацията на пърформанс събития от публиката е обикновено забранена, зрителите често правят снимки със своите телефони, публикуват ги в интернет в техните блогове, по такъв начин ставайки документатори и митологисти. В последните си пърформанси Ултрафутуро „опитомява“ практиката на публиката да снима без позволение, като раздава видео и фото камери на зрители, които „запечатват“ според своето виждане развитието на действието.
In the Presence of the Body 2. SCREENING
Thursday, July 18th, 6-8 pm, Center for Biotechnology and Interdisciplinary Studies (CBIS), Bruggeman Conference Center, Troy, NY
This screening is in conjunction with the exhibition In the Presence of the Body 2, that will be opened until September 30th in the atrium of the Center for Biotechnology and Interdisciplinary Studies. Video works and documentaries of and about artists dealing with more provocative biological topics will be shown. These works are intended to provoke a debate about controversial issues that should be discussed in a democratic society. The topics presented in these works may be deemed offensive by certain people – discretion is advised.
Films by: Critical Art Ensemble (USA), Rich Pell (USA), SymbioticA Reserch Lab—Oron Cats, Ionat Zurr and Guy Ben-Ary (Australia) and Bioteknica—Jennifer Willet and Shawn Bailey (Canada).
“In The Presence of The Body
2” exhibition description:
In the Presence of the Body 2 is an exhibition event of the ground breaking
BioArt Initiative for collaboration between the Department of Electronic
Art and the Center for Biotechnology and Interdisciplinary Studies (CBIS)
at RPI that is already running in full speed. The initiative brings
together cutting-edge biotechnology resources with its world-class electronic
arts community. This show is an extension of the first exhibition, “In
the Presence of the Body” that was meant to be an introduction to the
field. This time a documentation of bio-art projects of established
artists from USA, Australia, Russia and Bulgaria will be presented aiming
to reach larger audience of the university and the local community.
These works will engage the public with an educational and critical
overview of some of the aspects of bio technological research and its
current applications. A video projection in the lobby will support the
exposition in the atrium.
Artists in the show include: SymbioticA Research Lab--Guy Ben-Ary, Tanja Visocevic, Bruce Murphy (Australia), Julia Reodica (USA), Eduardo Kac (USA), Paul Vanouse (USA), Ultrafuturo--Boryana Rossa, Oleg Mavromatti, Katia Damianova, Anton Terziev (Bulgaria/Russia) and Where are the Dogs Running (Russia).
Everything You Always Wanted to Know About "The East" But Were Afraid to Ask
Curated by Boryana Rossa
IS TWO IN ONE:
EXHIBITION
AND A MUSIC PARTY
Opening party: Tuesday, May 8th, 7-11 pm, “Fifty-one-third” 51 3rd, Troy, NY
with live performances by: the jesse stiles 3000, Doestoevsky's Pistols, DJ joro-boro from the Bulgarian Bar in NYC
Exhibition:
The intention of this show is to expose artistic/political practices
that are not very well known in the U.S.; to challenge some stereotypes
about Eastern Europe. Artists from Russia, Bulgaria and Estonia use
their bodies to talk about issues of gender, religious, national and
political identity in the “young” democracies.
Music Party:
Subverting the flow of corporate imperialism, joro-boro imports the
sound of the world as ethnomesh - a mix of gypsypunk, balkan dancehall,
booty bhangra, favela turbo funk, bandari beats, sonidero cumbia, techno
brass q-check and whatever else is needed to detonate a global wedding
party where everybody is related.
More about the show:
Most of the works presented are public interventions and performances.
Made primarily in the nineties--time of dramatic changes for most of
the countries of the communist block—they provoked polarized reactions
in the Eastern European societies and media.
These works have been also exhibited in Western countries like Germany,
USA, Canada, France, Spain, Austria, Switzerland and many others. Artists
in the show include:
Absolute Love Sect (SAL), Daniela Kostova, Elena Kovylina, Expropriation
of the Territory of Art (ETI), Emperor Wawa, Georgy Toushev, Houben
Cherkelov, Kai Kaljo, Rassim, Ultrafuturo (Boryana Rossa, Oleg Mavromatti,
Anton Terziev, Katia Damianova, Miroslav Dimitrov),Ventsislav Zankov.
In the Presence of the Body
Curated by Boryana Rossa
“In the Presence of the Body” is an inaugural exhibition in conjunction
with the BioArts Initiative. The BioArt Initiative is a collaborative
research project between Rensselaer’s Arts Department and the Center
for Biotechnology and Interdisciplinary Studies (CBIS). This project
proposes to lay the foundation establishing RPI as a premiere institution
for the synthesis of emerging biotechnological research and media art
practice. The potential for creating a mutually supportive and critically
engaged culture between art, engineering and science exists at RPI to
a degree that is possible in only a select few universities worldwide.
“In the Presence of The Body” is a season of events dedicated to art, biology and society at RPI, Center for Biotechnology and Interdisciplinary Studies (CBIS), and West Hall.
EVENTS:
BioArt Initiative Opening receptions:
Wednesday, April 18th, 4-6 pm, RPI, West Hall, Gallery 111, documentation of bioart works
Wednesday, April 18th, RPI, Center for Biotechnology and Interdisciplinary Studies (CBIS), MEART the Semi Living Artist
Artist/scientist talks and discussions:
Monday, April 23th, 6-10 pm, RPI, Center for Biotechnology and Interdisciplinary Studies, Bruggeman Conference Center
Speakers:
Steve Potter
(Ph.D., Biological Sciences, University of California—Irvine, Department
of Neurobiology and Behavior, 1993, Assistant Professor, Coulter Department
of Biomedical Engineering, Georgia Institute of Technology, Atlanta)
Steve Kurtz
(Ph.D., Interdisciplinary Humanities, University of Florida, artist,
University at Buffalo, The State University of New York, founding member
Critical Art Ensemble)
Adam Zaretsky
(MFA School of the Art Institute of Chicago, artist, Universiteit Leiden,
The Netherlands)
………
In The Presence of The Body Description:
In the Presence of the body is the first exhibition event of the ground
breaking BioArt Initiative for collaboration between the Department
of Electronic Art and the Center for Biotechnology and Interdisciplinary
Studies (CBIS) at RPI. The initiative brings together RPI’s cutting-edge
biotechnology resources with its world-class electronic arts community.
The show will feature drawings made by MEART, a biological art work
consisting of living cell culture that controls a robotic arm. Documentation
of bioart works will be displayed with the aim of introducing the university
and the local community to the collaboration of art and science as a
field that stands as a mediator between scientific research and society.
Artists from Australia, Canada, Russia,
Bulgaria, Germany and the US will demonstrate an engaging and critical
overview of some of the aspects of current scientific research and its
application. The show will be in conjunction with an evening of talks
and discussions. Artists and scientists will present their research,
artistic projects and experience in collaborative art/science work.
In The Presence of The Body
at CBIS:
The core project presented at the CBIS will be MEART the Semi Living
Artist, a result of seven years of collaboration between SymbioticA
Research Group (SymbioticA - The Art & Science Collaborative Research
Lab, University of WA), and Dr. Steve Potter's Lab (Department of Biomedical
Engineering, Georgia Institute of Technology).
MEART - The Semi Living Artist is a geographically detached, bio-cybernetic research and development project exploring aspects of creativity and artistry in the age of new biological technologies. It was developed and hosted by SymbioticA Research Lab. MEART is an installation distributed between two (or more) locations in the world. Its “brain” consists of cultured nerve cells that grow and live in a neuro-engineering lab, in the Georgia Institute of Technology, Atlanta, USA (Dr. Steve Potter's lab). Its “body” is a robotic drawing arm that is capable of producing two-dimensional drawings. The “brain” and the “body” communicate in real time when MEART is shown live in a gallery.
MEART is suggesting future scenarios where humans will create/grow/manufacture intuitive and creative “thinking entities” that develop into intelligent and unpredictable beings. They may be created by humans for anthropocentric use, but as they will be creative and unpredictable they might not necessarily stay the way they were originally intended. This work explores questions such as: What is creativity? According to what criteria do we evaluate it? Can we move away from our anthropocentric thinking about the “only human” creative capability? Can we recognize the creativity of The Other we don’t know? How does our definition of creativity relate to what we think intelligence is?
A focal exhibit of the show will be
documentation of MEART – a short film, photographs, scientific poster
and reports as well as original drawings of the robot.
Other artists’ videos will be screened at CBIS including works by SymbioticA
research Lab (Oron Catts, Ionat Zurr, Tanya Visocevic, Phil Gamblen,
Guy Ben Ary, Bruce Murphy, Douglas Bakkum), Eduardo Kac, Paul Vanouse,
BIOTEKNICA (Shawn Bailey & Jennifer Willet).
“In The Presence of The Body” exhibition at WEST HALL GALLERY 111:
The second location of the show is Gallery 111, at West Hall. Similar
to the show at the CBIS a variety of bio-art documentation will extend
public understanding of what the dimensions of art/science collaboration
field are. The focus is on re-evaluation of the scientific research,
the opportunities or misinterpretations exposed to society and the dimensions
of the public awareness about its applications.
Other artists videos will be screened Gallery 111 including works by: Adam Zaretsky and Barbara Groves, BIOTEKNICA, Critical Art Ensemble w/ Rich Pell, Dimitry Bulatov, Julia Reodica, Stelarc and Nina Sellars, SymbioticA Research Group, ULTRAFUTURO, Where the Dogs are Running.
"In the Presence of the Body" is also a precursor of the show “Corpus Extremus (Life+)” scheduled for exhibition December 2007 at the renowned art/performance space Exit Art in New York. “Corpus Extremus (Life+)” focuses the investigation to questions of life and death while expanding the framework to arenas of technology related to this theme. The exhibition topic will include genetic and biotechnologies (tissue engineering, cryobiology, nanotechnology), cybernetics, virtual reality, the fusing of the human and the machine, the technologies of death, and the corporate marketing of the biological.
The 8th of March International Women’s Day Art Show
Opening Party: Thursday, March
8th, 6-10 pm
Live Performances by C. Ryder Cooley, Sarah Paul & Chris Skinner,
and Evolution Revolution!
At 51 3rd Street, Troy, NY
Wednesday March 14th 2007
6-8 pm with an artist talk by Dara Greenwald
Friday March 16th 2007
7pm Screening and The Hole Body Performance by Boryana Rossa
Above: works by Julia Reodica and Nao Bustamante
The 8th of March marks the international day of celebration for women’s rights. International Women’s Day has been celebrated on this date since 1917. This show highlights the work of over 20 local women artists and their collaborators. This happening/ celebration/ party/ show includes drawing, video, animation, performance, sculpture, bio-art, photography, installations, music, and more. Artists in the show include: Barbara Groves , Bettina Escauriza, Boryana Rossa, Branda Miller, Cat Mazza, C. Ryder Cooley, Caz McIntee, Daniela Kostova, Dara Greenwald, Evolution Revolution, Julia Christensen, Julia Reodica, Jung Yoon, Kathy High, Kyra Garrigue, Lin Bell, Liz Blum, Nao Bustamante, Nina Baldwin, Olivia Robinson, Seana Biondolillo, Sarah Paul & Chris Skinner, and Zulma Aguiar.
More Info on International Women’s Day
In 1911, as a result of the decision taken at Copenhagen the previous
year, International Women's Day was marked for the first time (19 March)
in Austria, Denmark, Germany and Switzerland, where more than one million
women and men attended rallies. In addition to the right to vote and
to hold public office, they demanded the right to work, to vocational
training and to an end to discrimination on the job.
Less than a week later, on 25 March, the tragic Triangle Fire in New
York City took the lives of more than 140 working girls, most of them
Italian and Jewish immigrants. This event had a significant impact on
labour legislation in the United States, and the working conditions
leading up to the disaster were invoked during subsequent observances
of International Women's Day.
In 1917, on the last Sunday of February, Russian women began a strike for "bread and peace" in response to the death over 2 million Russian soldiers in war. Opposed by political leaders the women continued to strike until four days later the Czar was forced to abdicate and the provisional Government granted women the right to vote. The date the women's strike commenced was Sunday 23 February on the Julian calendar then in use in Russia. This day on the Gregorian calendar in use elsewhere was 8 March.
Above: works by BOryana Rossa and Seana Biondolillo