past project

71 title Streaming Museum : The world where we live together date 2010.03.09
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Como will be shown artworks which is about various cultures and social messages through exhibitions of the Streaming Museum.
In February, there are two different screening. One is a documentary film of “Breakthrough” by Edwina Sandys and the other is “Crossing Tel Aviv” by Uri Dotan who is one of artists from “New Era” exhibition, a collage of visual and performing arts and visionary creation from the Middle East.
In March, we also show two artworks, [Lagoglyphs] and [Traffic]. [Lagoglyphs] is motivation from green-glowing bunny, called Alba by a bio-artist Eduardo Kac. [Traffic] is shown traffic of New York City in real time from computer by a software artist John F. Simon, Jr.
The citizen of the city which is connected could be though about ‘the world where we live together’ by various eyes and storytelling from different places through this exhibition.

Date  2010.02.01 - 2010. 3.31
(8:30 a.m. ~7:00p.m., closed on weekends and holidays)
Venue  Seoul COMO tower ( SKT-tower, exit gate 4 of Euljiro subway station)
Entrance Fee  Free
Organized by  art center nabi, SK Telecom
Program Partner  Streaming Museum
Contact   02-2121-1030


About Streaming Museum
Streaming Museum is a new hybrid museum that presents multi-media exhibitions in cyberspace and public space on 7 continents.  Launched January 29, 2008 by Nina Colosi, Streaming Museum is produced and broadcast in New York City, with exhibitions generated in collaboration with international cultural, educational, and public centers; artists, curators and visionary creators.
Streaming Museum is a cross-reality platform that is accessed via internet, viewed in high visibility public locations and live in cultural centers. The museum was inspired by Nam June Paik who in the 1970s envisioned the Internet, predicting an “information superhighway” as an open and free medium for imagination and exchange of cultures.
www.streamingmuseum.org



Artwork - February





01. Breakthrough
/ Artist Edwina Sandys 


 
Streaming Museum is pleased to present “Breakthrough” an exhibition by artist Edwina Sandys commemorating the 20th anniversary of the fall of the Berlin Wall that will be on view throughout its network of locations in cyberspace and public spaces on 7 continents.


02. Crossing Tel Aviv (From ‘New Era: The Middle East)
/ Artist Uri Dotan


 
The museum’s exhibition, “New Era,” is a collage of visual and performing arts and visionary creation from the Middle East and includes selections made by tina b. 2009 curators, remixed for public spaces and cyberspace.  The artworks reflect the peculating undercurrents in contemporary society from which will emerge the next “new era” – the theme of tina b. 2009.




Artwork  - March


01.Lagoglyphs
/ Artist  Eduardo Kac


 
Lagoglyphs are a series of works in which the artist develops a leporimorph or rabbitographic form of writing.  As visual language that alludes to meaning but resists interpretation, the Lagoglyphs series stands as the counterpoint to the barrage of discourses generated through, with, and around Kac’s celebrated artwork “GFP Bunny” (Kac's green-glowing bunny, called Alba, created in 2000 and featured in exhibitions and publications worldwide).

The pictograms that make up the Lagoglyphs are visual symbols representing Alba rather than the sounds or phonemes of words. Devoid of characters and phonetic symbols, devoid of syllabic and logographic meaning, Kac's Lagoglyphs function through a repertoire of gestures, textures, forms, juxtapositions, superpositions, opacities, transparencies, and ligatures. These coalesce into an idioglossic and polyvalent script structured through visual compositional units that multiply rather than circumscribe meanings.
Composed of double-mark calligraphic units (one in green, the other in black), the Lagoglyphs evoke the birth of writing (as in cuneiform script, hieroglyphic orthography, or ideography). However, they deliberately oscillate between mono referentiality (always Alba) and the patterns of a visual idiolect (the artist's own). In so doing, the Lagoglyphs ultimately form a kind of pictorial idioglossia or cryptolanguage.

Kac, who parallel to his art has written and published experimental poetry continuously since the early 1980s, as exemplified by his noted holopoems, digital poems, and biopoems, has created in the "Lagoglyphs" a series that brings from poetry both the power of condensation of meaning and the productive ambiguity of carefully crafted linguistic syntagms.
At the same time, genetic engineering, a new art medium pioneered by Eduardo Kac since the late 1990s, has often been compared to a language, "the script of life" -- a comparison that Kac has always attacked and denounced as a hollow metaphor, extremely reductive and insufficient to account for the true relational and interdependent complexity of life.

In the "Lagoglyphs", Kac brings together the multiple forms and the varied issues that have informed his art for over two decades. Indeed, a new chirographic synthesis that is also a new beginning for the artist, one in which word and image come together as mark and meaning.


02. Traffic (software art & HD video)
/ Artist  John F. Simon, Jr.
 


I was a wide eyed six year old mesmerized by an endless stream of cars. To a boy from Louisiana, New York City was the outside world in constant motion. How could it be so dense, complex and fascinating, too? The repeating patterns in "Traffic" trace their origins to this youthful introduction to dynamic systems.
Traffic simulation is such an elegantly simple piece of code to write. The rules are familiar to everybody. Red light stop. Green light go.  Move forward but don't hit the car in front of you.  And yet, when I apply these rules to hundreds of software objects and let them loose in a video frame, I get endless variability.  Each day's traffic tells a different story. Flows and slowdowns come and go. Cars pile up at intersections.  Traffic jams occur in my computer simulations exactly as they do in the real world.  And they clear up just as mysteriously.

Piet Mondrian captured the rhythms of  New York City in his famous painting 'Broadway Boogie Woogie' (1942-3). His love of jazz and improvisation informed his composition. The geometry of the streets became the stage for improvisation.   "Traffic" starts with Mondiran's attitude and sets it in motion. Randomness in the software provides unexpected movement. Mondrian's geometry is a perfect match for the pixels of a computer screen. The Modernist vision is played out in its endless combinations which are as real as the traffic on the street.

The images in the "Traffic" software change continually and never repeat. Colors vary, street size and number, even the number of cars on the street changes.  It can be shown in real time from a computer, as HD video or standard video. As a video, "Traffic" is a 10 minute long selection. The software version constantly evolves as new traffic patterns are explored.








 

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