César Escudero Andaluz (LIC, MA, MFA) studied Fine Arts and Architecture & Design at the University of Salamanca, Visual Arts and Multimedia at the Politechnical University of Valencia.
Since 2011 he is researching at the Kunstuniversität Linz in Interface Culture LAB. Working in the field between users and interfaces.
-2017.* AARHUS UNIVERSITY. Data Polluters, Guest lecturer on Digital Aesthetics.
-NEXT. COLOMBIA NATIONAL UNIVERSITY, Internet Dissidence, Bogotá.
-NEXT. UPV, Polytechnic University of Valencia, Interface Dissidence. AVM master.
-2017.* NODE Forum for Digital Arts, DESIGNING HOPE, Frankfurt (Germany). (in collaboration with Martín Nadal)
-2017.* ARTS SANTA MONICA. Diffractive Interfaces, Barcelona, (Spain).
-2017.* AARHUS UNIVERSITY. Interfight Kit NETBOTS, on Digital Aesthetics Master.
-2017.*RE:TRACE The 7th International Conference on the Histories of Media Art, Science and Technology (Austria). (in collaboration with Martín Nadal)
SCREENING GRANT. Aarhus University, (Denmark, 2017).
ARTIST IN RESIDENCE, Colombia National University
-2017.* ARTIST RETHINKING BLOCKCHAIN (in collaboration with Martín Nadal)
-2017.* EXSTRANGE: A CURATORIAL INTERVENTION IN E-BAY (in collaboration with Martín Nadal)
-2017.* ZKM Zentrum für Kunst und Mediem Karlsruhe, Open codes (Germany). (in collaboration with Martín Nadal)
-2017.* INJUVE Estudio Escritorio, curated by Antonio Ferreira (Spain).
-2017.* NODE Forum for Digital Arts, DESIGNING HOPE, Frankfurt (Germany). (in collaboration with Martín Nadal)
-2017.* SOBREEXPOSICIÓN Espacio de Arte Contemporaneo. Curated by Juan José Santos, Montevideo (Uruguay).
-2017.* PLASTIC PLANET Azkuna Zentroa. Curated by Jaime de Los Rios, Bilbao (Spain).
-2017.* ADAF 13th Athens Digital Art Festival, #POSTFUTURE, Athens (Greece). (in collaboration with Martín Nadal)
-2017.* WRO 17th Media Art Biennale, DRAFT SYSTEMS Wroclaw (Poland). (in collaboration with Martín Nadal)
is an Italian designer focused on communication and editorial design. She is currently working at the Free University of Bozen – Faculty of Design and Art as adjunct lecturer in Visual Communication and she is a PhD candidate at the Interface Cultures Program at the University of Art and Design Linz. Since 2018 she in the editorial board of Progetto Grafico, the leading Italian magazine on graphic design culture. She holds a BA from Free University of Bolzano and a MA in Communication and Design for Publishing from ISIA Urbino. After some experiences working for graphic design offices and collaborating as graphic designer at Rorhof, she was appointed to a research position in the design department at the Jan van Eyck Academie in Maastricht (2015–2016). She is member of the International Council of Museums (ICOM), of the Italian Association of Visual Communication Design (Aiap) and of UNESCO (AIGU). www.giuliacordin.com
EXTENDING THE MUSEUM: THE EXHIBITION VISITOR AS A CULTURAL PRODUCER
Tony Bennett (1988) describes the 19th century world exhibition as “exhibitionary complex”, defined by the organization of space, the exhibited objects and the gaze of the visitors. He also observes the way in which it involved both the lower and middle classes in new relations of power and knowledge, and offered them tools for self-regulation and the possibility of becoming a ‘subject of knowledge’. Drawing on Bennett’s diagnosis, a closer examination of the interactive visitors’ engagement in the exhibition space appears crucial, especially with regards to the recent transformation in the tools of knowledge production provided by digitization. Studies on audience behavior suggest, that the behavior of museum visitors has rapidly changed over the past three decades. Instead of following the explanations offered by the curator, the narration of the exhibition is negotiated: Emotional and atmospheric components dominate cognitive ones. Taking cultural production as a specific domain of identity construction, my work suggests that the traditional linear path through the exhibition has dissolved into a network which allows every visitor to follow their own interests. In this way, the recipient turned into a producer of meaning. Furthermore, this demonstrates that the visitor’s production is not starting or ending at the entrance of the museum. The exhibition is an institutional field which is crossed by the new ‘visitor/ cultural producer’, who produces knowledge as part of their individual and collective identity – prior and after crossing this ‘institutional’ field.
Oliver Lehner lives and works in Linz and has a background in media technology, design and programming. He has worked on interactive and narrative art mediation projects for the OK Center for Contemporary Arts and exhibited interactive audio-visual works as an Interface Culture Master student at Ars Electronica Festival. Inspired by activist and accelerationist philosophy he has examined the politics of sound art for his master thesis. Out of frustration from the shortcomings of current methods to document sound art he started to investigate Virtual Reality as a means to capture the ephemeral nature of sound installations and make them experienceable without temporal and geographical constraints.
Biometric data in Art. From the reciprocity of physical processes, biometric measurements and artistic staging.
You can change your brain waves on command. Your command? On my command? I invite you at this point to join me in an examination of familiar terms used in everyday life and to consider what meanings you would give to the terms, ‘body’, ‘organ’, ‘brain’, ‘mind’ and ‘computer’.
If we separate the terms ‘brain’ (the organ) and ‘mind’ (the cognitive processes) from each other, it may open a door to the perception of the organ (brain). The brain produces waves (measurable oscillations) just like the remaining physical organs.
Organ perception (enteroception) does not stop at the gateway to artistic productions. Perception is omnipresent, consciously or unconsciously. My keen interest in the body's own ‘waves’ (oscillations) finds its manifold expression in my artistic works. To transform body oscillations into an artistic immersive physical experience is also part of my artistic-scientific research.
We live in a highly technological age, an increasingly technologized and digitized world where the body often plays only an executive role. In my research, I focus on human corporeality, mental states, in the reciprocal interaction with the measurement of living human beings, technological phenomena, artistic genesis, and their manifestations. The exploration has always been guided by the question: What does it mean to BE a body? An exploration of corporeality under the influence of artistic representations.
I am asking the questions: Which methods for measuring exact biometric data are feasible in the artistic field? Which are necessary, meaningful, and relevant with regards to the viewers of art? How to inspire and measure one´s own inner imagination space. And how relevant is it for an art recipient to experience `his own´ biometric data analysis in real time?
Would you like to actively participate in an art-based research study?
If you have at least 15 minutes time and do not mind wearing some body sensors, please send an email with the subject “Probandin” to BCI@Mondria.at.
www.Mondria.at , www.RIXLmemMatriX.com
As an artist, adult educator, project manager she initiates art- culture projects, exhibitions and scientific studies. She is a certified mental coach. She completed her studies Fine Art at the London Institute Camberwell College u.Marseille at the Aix-Marseille Université, the JKU Linz, in Kunst- Kulturwissensschaft at the Kunstuniversität Linz (with honors). She was the head of the AEC BrainLab from 2009-19. In addition to her activities as mentor, juror, lecturer and her scientific research, she is currently Brain Project Supervisor at Ars Electronica C.
is an artist and designer working across various media including film, installation and photography. His current work explores the complex interactions between collective imaginations and technological projects, examining visions of desirable futures and their different materializations. He consistently engages with imaginaries and practices of outer space exploration, responding to the premise that outer space has become normalised by particular myths of progress. josephpopper.net
Fragmenting a Monolith: Exploring and Disrupting an Outer Space Imaginary
Fragmenting a Monolith explores imagining outer space and examines a predominant and problematic outer space imaginary. The research focuses on the production and narration of outer space by a Euro-American vision of humankind as a spacefaring civilisation, and questions what this vision means for human futures on and off Earth. The primary interest is the human settlement of outer space, as a technological project inseparably entangled with the social and the subject of a “sociotechnical imaginary” (Jasanoff and Kim 2015). Here, historical precedents and ideological values saturate contemporary representations and materialisations of desirable space futures. The thesis responds to the idea of the imaginary — a collectively held and publicly performed vision or narrative — as a formidable social and political force. Most importantly, it articulates the imaginary as a kind of infrastructure that shapes and stabilises a movement of influential space industry actors with ambitions to colonise and commercialise the cosmos. This infrastructure is made of myths, metaphors and master narratives which manifest in the imagery and rhetoric of spaceflight advocacy. Distorted and deeply flawed, they nevertheless combine to normalise outer space in a powerful collective imagination. The aims of the PhD project are twofold. First, in apprehending a Euro-American imaginary as spaceflight infrastructure, I study its normalising functions and mechanisms from an artistic perspective; finding double exposures, inversions and other aesthetic gestures at the heart of its “structuring matrix” (Gaonkar 2002: 4). In exploring how this imaginary is performed, I establish the need for its disruption. This need creates the premise for the second aim: a critical response, founded upon the practices and processes of the essay film. Montage forms a central method for the essay film to think through moving image, where discrete fragments of image and sound cohere and collide in infinitely multiple arrangements. Through such arrangements, film essayists convey film to be another audiovisual structure — a fragmentary structure for countering and destabilising the problematics of a monolithic space imaginary. Montage means a material film practice and also a montagist sensibility for reading moving image, often found in film criticism. As method, montage relates my writing to a series of short essay films I made, which experiment with found footage to explore particular themes and concerns that I describe in the thesis chapters. It is through this multidisciplinary approach that the project critiques and contests a predominant outer space imaginary across imaginal, fictional and scholarly registers.
Curator (peer to space)
Tina Sauerländer studied art history, business economics and Bavarian ecclesiastical history at Ludwig-Maximilians-University in Munich, Germany. She works as a curator and writer based in Berlin. She focuses primarily on the impact of the digital and the Internet on individual environments and society. With her exhibition hub peer to space she has been organizing and curating international group exhibitions in various institutions throughout Europe. She is the author of many comprehensive texts on contemporary artists. She is co-founder of Radiance, an international online research database for artistic Virtual Reality experiences. And she is the founder of the SALOON, a network for women working in the art field in Berlin, Paris and Vienna. She is currently engaged in doctoral studies at Kunstuniversität Linz about artistic self-staging in digital art.