This evening the energy of the young and the inspiration of the muses make a somewhat different Hamar Experience, but don’t be afraid, for it is what happens when you have so many things to talk about with such nice guests.

Kathrine Berg is a lovely woman and artist who is working with the 1,300 kids from the Cultural Rucksack Project. By the way, the Cultural Rucksack will finish this week and we are looking forward to seeing the results.

Inger Lise works on a different project about art and youth. Whatever she has to say, it is going to be interesting. And yes, we are letting her tell you the details about the project. We think it’s more interesting that way.

And there is more, because next week ACTIVITIES workshops begin and you are going to get a preview on what is going to happen there – What? You haven’t registered yet? It is free, it is fun and you’ll meet interesting people while talking about Hamar. And we might just invite you to coffee and cake, too.

There will also be a surprise for the technology oriented, so don’t forget your smart phone or your tablet pc.

Let the muses and the younsters inspire you this evening at 18:00h on Hamar Experience 12.

We are glad to announce the opening of “Looking through ecosistema urbano eyes” exhibition at Daz Architecture Center in Berlin on 18th November at 7.00 pm.

From the press-release:

+++ ecosistema urbano combine architecture, urbanism, engineering and sociology to strive
for a “creative urban sustainability”. The focus of their work is on the complex phenomenon
of the city, which they react to through innovative, creative and holistic interventions. They
catalyse urban processes that help citizens to change their own environment. At the DAZ ecosistema
urbano will visualize, through a classical 3D optical system, the process and strategies
for a selection of recent works. It will be the second exhibition of the DAZ series FORMULA_X,
presenting the facets of sustainable ideas and visions of the up-and-coming architects` generation.
+++

Exhibition will include some of our recent works, such as Plaza Ecopolis and Air Tree for EXPO 2010 Shanghai that we have recently shared under a creative commons license.

.

| Looking through ecosistema urbano eyes |

EXHIBITION: 19.11.2010 – 16.01.2011 // DAZ Scharoun Saal
Tue to Fri 12.00 am – 7.00 pm, Sat + Sun 2.00 pm – 7.00 pm
Admission: 3,00 EUR / reduced 1,50 EUR
Free admission on the 1st Sunday of every month and during events.
PRESS- + VIP-PREVIEW: 18.11.2010, 6.00pm // DAZ Scharoun Saal
OPENING: 18.11.2010
7.00 pm, Lecture // DAZ Taut Saal
ECOSISTEMA URBANO Urban Social Design
Introduction: Kristien Ring, Director DAZ, Curator FORMULA_X
8.00 pm, Opening Party // DAZ Scharoun Saal

more info at daz.de

“Scientists think that ice will probably disappear from the North Pole for the first time by this summer 2008 due to the global warming. We would like to express our solidarity with the hungry – and probably angry – polar bears that will soon reach our lands (?) trying to find some dry land and food. What about architecture?”

This was how we started presenting our project - LONDON . BREATH . S - for a floating art gallery competition on river Thames in London. We were saying something like: “Hey, if architecture isn’t able to radically change his relation with nature, we’ll soon have some angry polar bears in London!”.

A few months after this competition, it’s surprising and very funny to see that 3d production experts “Hothouse IWG” created  the Polar Bear and cub sculpture, seen floating down the Thames on Monday.

Here is an interesting video of the making of the sculpture.

More info here and there.

- LONDON . BREATH . S – credits: Francesco Cingolani, Massimo Lombardi

source: http://www.creativematch.co.uk/

Superuse is based on a simple but effective concept. For the viewer, it is a big database of recycling-related projects in various fields (design, architecture, art, etc) and for its registered users it is a community whose members can submit stuff and vote other people’s sumissions. As a social network Superuse doesn’t seem to allow super fancy profile pages, but this is not necessarily a bad thing since it keeps it hardcore to the posting, the voting and the commenting. More than a tool for professionals to promote their work (even though it can also be used as such) the website is about being passionate and showing appreciation for recycling, with tons of links to pages and Flickr sets. The voting thing makes the sharing tastier, and we know sharing is one of the internet’s best virtues.

The graphics and interface themselves are rather slick and clean, with lots of thumbnailed submissions directly accessible from the homepage and a quick navigation system. I could find just a couple of flaws, like the rather undressed profile pages and having to scroll down to see who has voted each project.

The people behind the project are the brilliant dutch studio 2012 Architects (also founders of the Recyclicity foundation and soon to be featured on the next Yearbook) and Suite75.

source: www.yskira.com

Artech 2008 is the fourth international workshop held in Portugal and Galicia on the topic of Digital Arts. It aims to promote contacts between Iberian and International contributors concerned with the conception, production and dissemination of Digital and Electronic Art.
Artech 2008 brings the scientific, technological and artistic
community together, promoting the interest in the digital culture and
its intersection with art and technology as an important research
field, a common space for discussion, an exchange of experiences, a
forum for emerging digital artists and a way of understanding and
appreciating new forms of cultural expression.

ARTECH 2008 is also Co-located with the Events:
Olhares de Outono 2008 New Trends in Digital Arts Festival, 3-8 Nov. 2008
Digital GAMES 2008 Conference on Digital Games, 6, 7 Nov. 2008

http://www.artes.ucp.pt/artech2008/

Main Topics:
Main areas are related with sound, image, video, music, multimedia and
other new media related topics, in the context of emerging practice of
artistic creation. Although non exclusive, the main topics of the
conference are:

* Art and Science
* Audio-Visual and Multimedia Design
* Creativity Theory
* Electronic Music
* Generative and Algorithmic Art
* Interactive Systems for Artistic Applications
* Media Art history
* Mobile Multimedia
* Net Art and Digital Culture
* New Experiences with New Media and New Applications
* Tangible and Gesture Interfaces
* Technology in Art Education
* Virtual Reality and Augmented Reality

ARTECH 2008 INSTALLATIONS PROGRAM -

http://www.artes.ucp.pt/artech2008/installations.html

Friday, 7 November 2008
Installation Session #1 – 9:30 – 20:30

Sala de coro (floor -1)

Instalación Interactiva “JCC, Brain Research II”
Agueda Simó

Sustainabillity & Extinction
Bello Benischauer

Speaking at the Wall
Chiara Passa

Pink Music on FF Sale
Ciustódio Ricardino e Vitor Lago Silva

VideoSpace: a 3D Video Experience
Telmo Rocha e Teresa Chambel

Blood Landscapes
Richard O’Sullivan

Bar (floor -1)

Composição VIII
Paulo Cezar Barbosa Mello

Rádio room (floor -2)

Fonema Visual
Rui Figueiras, Marta Duarte e Miguel Cunha

—————————————

Saturday, 8 November 2008
Installation Session #2 – 9:30 – 20:30

Sala de coro (floor -1)

Instalación Interactiva “JCC, Brain Research II”
Agueda Simó

Sustainabillity & Extinction
Bello Benischauer

Speaking at the Wall
Chiara Passa

Pink Music on FF Sale
Ciustódio Ricardino e Vitor Lago Silva

VideoSpace: a 3D Video Experience
Telmo Rocha e Teresa Chambel

Blood Landscapes
Richard O’Sullivan

Bar (floor -1)

Composição VIII
Paulo Cezar Barbosa Mello

Rádio room (floor -2)

Trame
Ivano Morrone.

Enormous and reasoned assembling of umbrellas, wood, cables and nets. Composite structure supporting the machine, the installation, the shelter. Compartment that can be reconfigured and can host a user/person. Without any fixation, structurally autonomous, therefore able to move in the space of the yard according to the visitors’/users’ (inside or outside the compartment) desires and interactions. From the inside, the user can make the composition of the surface vary, defining its degree of opacity and privacy.

By interfering with a space, we want our compartment to arouse people’s curiosity and question the audience during the whole exhibition. Disconcerting piece because of its size, (but how did they manage to make take it through the door… ?), its assembling of familiar objects (hey, I know what it is, but I would have never thought of using it this way…) and its use (you can isolate yourself there?).

« (…) Included/incarcerated in this strange sea urchin-umbrella, diverting familiar objects from the daily life, the users, by the configuration that they print on this shell for gentlemen, express their needs, relationship to the world, and sensitivity of the moment. (…)»

Abri n°177 is made of an assembling of umbrellas that form a truncated icosahedron.

Here is an exhaustive list of the equipment we used:

- 32 grand-golf umbrellas with a curved handle and a wooden stick. Metal umbrella ribs and canvas coordinated in nylon. Weight : 458 gr., dimensions : 49 x Ø 100 mm
- 20 tie rods tension/compression. Each of them is made of 3 pieces of aluminum soldered to each other. [1 Swedish 90° pipe wrench soldered to a folded aluminum section (3 mm thick) and 2 plates of 5 and 10 mm thick) to fix the cables and poles]
- 12 tie rods tension/compression. Each of them is made of 3 pieces of aluminum soldered to each other. [Swedish 90° pipe wrench soldered to a folded aluminum section (3 mm thick) and 2 plates to fix the cables (5 mm thick)]
- 30 wooden poles, of a diameter of 4 cm for a length of 37 cm (total of 11m10)
- 30 steel cables Ø5 mm with hooks and stainless steeled wire-strainer of 130 cm (total of 39m)
- 60 steel cables Ø5 mm avec hooks and stainless steeled wire-strainer of 69cm (total of 42m)

“Il pleuvait fort sur la grand-route / Elle cheminait sans parapluie / J’en avais un,volé, sans doute / Le matin même à un ami / Courant alors à sa rescousse / Je lui propose un peu d’abri / En séchant l’eau de sa frimousse / D’un air très doux, elle m’a dit ” oui “…. Un p’tit coin d’parapluie / Contre un coin d’paradis / Elle avait quelque chos’ d’un ange / Un p’tit coin d’paradis / Contre un coin d’parapluie / Je n’perdais pas au chang’, pardi… “
Le parapluie – Georges Brassens (1952)

Galerie les filles du calvaire
17, rue des Filles-du-calvaire – 75003 Paris
Open from tuesday to saturday from 11:00 AM to 06:30 PM
from 10-10-2008 to 25-10-2008
Opening 11-10-2008

more info http://ozcollective.com

special thanks to Gaëtan Kohler Architect

update:
the autors is Alexandre Pachiauddi and Gaëtan Kohler

The Morning Line
Matthew Ritchie in collaboration with Aranda/Lasch and Arup AGU
Commissioned by Thyssen-Bornemisza Art Contemporary

On invitation by Biennial chief curator Peter Weibel the first “anti-pavilion” by Thyssen-Bornemisza Art Contemporary – a groundbreaking, newly commissioned public structure premiers as one of the central works at the 3rd International Biennial of Contemporary Art of Seville.
Since 2004 Thyssen-Bornemisza Art Contemporary has been collaborating with the US artist Matthew Ritchie, listed as one of the 100 innovators for the new millennium by Time Magazine in 2001, for exploring “the unthinkable or the not-yet-thought”. The Morning Line is a modular structure which is infinitely self-scaling consisting of crystallographic units that increase or decrease around a fixed ratio. This synthetic process is accomplished through drawing, where form and content, geometry and expression are unified and can be seen as an answer to the holographic principle – a therory which defines the visible universe as a hologram, a picture. The project of constructing a personal cosmology that incorporates the languages of science, myth and religion into a single systemic visual language becomes here a system for encoding multiple narratives. As with any event, The Morning Line can only be understood by looking back to it from a future moment.
Together with the New York based architecture studio Aranda/Lasch (recent winners of the Young Architect Award in New York) and a team of musicians, scientists, programmers and animators, Matthew Ritchie created the design for the first semasiographic building made from an architectural language that expresses its content through its groundbreaking structure. A structure that is simultaneously generating itself and falling apart, enclosing an interactive environment inside which a possible future can be seen and changed by the viewer. Due to its interlocking system of variable modules, the pavilion provides multiple functions such as a large outdoor performance and visitor area, auditorium/landscape/ruin, and furthermore a “musical instrument” played by new emerging composers and sound artists in the electro-acoustic medium to present their work. The layered and interactive works, written specifically for the novel interactive environment of the installation are to be composed and recorded as `scores’ for the installation itself, such that they can be heard autonomously within the piece at anytime.
Thyssen-Bornemisza Art Contemporary (T-B A21) was founded in Vienna in 2002 by Francesca von Habsburg, daughter of Hans Heinrich Thyssen-Bornemisza. The foundation is committed to supporting the production of contemporary art and actively engaged in commissioning unconventional, interdisciplinary projects. The first pavilion commissioned by Thyssen-Bornemisza Art Contemporary Your black horizon Art Pavilion in collaboration with Danish-Islandic artist Olafur Eliasson and British-Ghanaian Architect David Adjaye was inaugurated at he 51st Venice Biennale. In 2007 the pavilion moved to the island of Lopud (Croatia) in a completely different context and will stay open for visitors until 31st October 2008
For further information about the work and projects – of the foundation visit their web-site at www.tba21.org

the museu d’art contemporani d’eivissa and the biennial committee are organizing the 20 biennal d’eivissa, which shall open in autumn 2008 in the museu d’art contemporani d’eivissa and which shall governed by the following rules:
1. participants:
+ participation shall be open and free of charge.
2. technical conditions:
+ the biennial, having specialized in graphic work (ibizagráfic), maintains and accepts any printing technique, new technologies or technical innovations in the context of engraving, digital format such as photography, video creation, code, art, etc.
+ all works presented must have been made after 2006.
+ work will be rejected where it is not presented in perfect condition or where, because of the fragility or weak consistency of the material used, it can easily deteriorate.
+ due to technical requirements, for analogical media the work may not exceed 100 x 100 cm.
+ for digital media the following shall be accepted: cds, dvds (pal), vhs’ (pal), urls.
3. time limit, place, form of presentation and return:
+ on working days, from the date of the appearance of this invitation and until 30 october.  from 10 am to 13.30 pm and from 6 pm to 8 pm.
+  the delivery of work that can be packed and/or is analogical shall be made in the ajuntament d’eivissa (museu d’art contemporani d’eivissa). plaça d’espanya, 1. dalt vila. 07800. eivissa. (illes balears); o museu d’art contemporani d’eivissa. apartado de correos 251. 07800 eivissa (illes balears), by hand, by post or by courier service. these works must be clearly labelled with their details.
+ all the costs of sending, including customs duties, shall be borne by the sender.
+ deliveries shall not be accepted at the cost of the recipient.
+ a .txt registration file shall be enclosed
+ any work that is not accompanied by the .txt file shall be rejected.
+ the works that you wish to register must include authorisation for the use of material protected by intellectual property rights and copyright where these are included in it.
+ packageable:
++ photography (digital image formats + .txt).
++ infography (digital image formats + .txt).
++ video art (digital video formats + 00h07m00s + .txt)
++ code art + .txt.
+ addressable: send the url + .txt to [mac@eivissa.es]
+ the museu d’art contemporani d’eivissa shall not be liable for loss, retention by the postal or transport service, or for damage that may arise during the delivery of the work or during its return.
+ each work must be valued in euros by its author (for an amount that may not exceed 600 euros).
+ analogical work shall be returned in the same condition and packaging as upon receipt, at the cost of the author.
+ returns shall be requested from the closure of the biennial for those works that have not been selected. and from one year after closure of the biennial for those that have been selected. they may also be taken away personally, with prior notice to the museum. where they are not sought after they will be kept in the museum in the form of a deposit.
+ digital work shall not be returned, whether or not it is selected.
4. exhibition:
+ the selected works, whether or not they receive prizes, shall be exhibited in the museu d’art contemporani d’eivissa or other exhibitions run by the museum and shall remain available to it in deposit, for the period of one year from the closure of the biennial, should it decide to organize other temporary or touring exhibitions of them.
5. panel:
+ this shall be made up of five expert members under the chairmanship of the president of the board of the museum and in his absence by the vice-chairman. his secretary shall be the commissioner of the biennial. the commissioner of the biennial shall determine the works selected and shall resolve all matters not specified herein. the panel shall determine which works receive prizes and any possible honorary mentions and its verdict shall be final. the prizes shall be made public in the act of opening the biennial. the selection of artists shall also be made public.
6. prizes:
+ three prizes have been established, these being first, second and third, which shall consist in the acquisition of the prize-winning works, which shall then form part of the collections of the museum, except in the specific cases of code.art which, because of their special characteristics, cannot be acquired but can win prizes.
7. acceptance of the rules:
+ participation in this invitation implies full acceptance of these rules. for possible complaints, claims shall only be accepted in the first instance before the committee of the ibiza biennial and in the second instance before the ordinary courts for the island of ibiza.
+ the selected artists authorize the use of their names as well as the photographic reproduction of their works, in the catalogue of the biennial, in the mass media and in the programme of activities of the biennial. after one month has expired from the closure of the biennial no claim whatsoever may be brought.

foto de F. Nogués

re:move final release [http://www.move2digital.net/en/index.html]

fernando casás [http://www.fernandocasas.es] intervention uses leds put together by francis naranjo [http://www.francisnaranjo.blogspot.com] in a mural outside expocoruña exhibition centre [http://www.expocoruna.com]

fernando casás launches the first of the series of leds which have been set by francis naranjo in a display unit outside expocoruña trade centre.  his work _despois de m/arte_,  is a contribution to the collective works titled _re:move final release_

on the 10 juny 2008 at 12 noon begins the temporary interventions of the electronic display unit set outside expocoruña exhibition centre

fernando casás, the galician artist known by his ephemeral work on nature, will open up these series with _despois de m/arte_, his first digital project. he succeeds thanks to his treatment of what is ephemeral which goes together well with this luminous writing on 15 leds which are the framework of frances naranjo´s display unit

each intervention will last around a month and will be part of the _re:move final release_ a collective work which is one of the fundamental components of new media art; without each artist’s contribution  a complete production would not be possible.

curator: nilo casares [http://comisario.net]

artists

fernando casás (gondomar, spain)
[http://www.fernandocasas.es]

darko fritz (amsterdam, holland, born in croatia)
[http://darkofritz.net]

dionisio cañas (tomelloso, spain)
[http://www.dionisioc.com]

yucef mehri (venezuela)
[http://www.cibernetic.com]

eva y franco mattes (europe)
[http://www.0100101110101101.org]

luigi pagliarini (pescara, italia)
[http://www.youtube.com/results?search_query=luigi+pagliarini&search_type=]

arcángel constantini (méxico df, méxico)
[http://www.unosunosyunosceros.com]

antonio mendoza (los angeles, usa)
[http://www.subculture.com]

fernando llanos (méxico df, méxico)
[http://www.fllanos.com]

gazira babeli (second life)
[http://gazirababeli.com]

brian mackern (montevideo, uruguay)
[http://netart.org.uy]

jimpunk (paris, france)
[http://www.jimpunk.com/]