This is my Flickr set for the Expanded Box selection at ARCO Madrid 2010. As a photographer, I was lamer than usual, but I hope you’ll enjoy it as well.

This is Marius Watz’s Flickr set.

Below you can find some press about the section and the related projects (the panel “Expanding the field” and the ARCO BEEP Award):

- Roberta Bosco, “Espacios para la experimentacion“, in El Pais / Babelia, 13/02/2010, p. 11. (Spanish, PDF)

- Roberta Bosco, Stefano Caldana, “Las relaciones entre vida orgánica y artificial protagonizan Arco“, in El Pais / Cyberpais, 18/02/2010. (Spanish)

- ABCDARCO, “Expanding the Field“, in ABCDARCO, 20/02/2010, p. 7. (English / Spanish, PDF)

- Amanda Cuesta, “Art claiming impulse“, in ABCDARCO, 21/02/2010, pp. 2 – 3. (English / Spanish, PDF)

- ABCDARCO, “Profiles“, in ABCDARCO, 21/02/2010, p. 14. (English / Spanish, PDF)

An here is a couple of video interviews:

- in RTVE.ES, “Zoom Net”, 22/02/2010 (Spanish);

- in CTV, Festival Arte Contemporanea, 23/02/2010 (Italian).

The Perpetual Storytelling Apparatus, by the German artists Julius von Bismarck & Benjamin Maus, is the winning entry for the Arco BEEP Award 2010. The work has been presented in the Expanded Box by the Berlin based gallery Art Claims Impulse. The artwork will become part of the BEEP – Datalogic corporate collection.

«The Perpetual Storytelling Apparatus is a drawing machine illustrating a never-ending story by the use of patent drawings. The machine translates words of a text into patent drawings. Seven million patents — linked by over 22 million references — form the vocabulary. By using references to earlier patents, it is possible to find paths between arbitrary patents. They form a kind of subtext. New visual connections and narrative layers emerge through the interweaving of the story with the depiction of technical developments.»

A video demonstration of the work is available on Youtube.

EXPANDING THE FIELD. Or, 8 good reasons to talk about new media (in an art fair)

Director: Domenico Quaranta

Lecturers: UBERMORGEN.COM, Marius Watz, Trevor Paglen, Oron Catts, Auriea Harvey & Michael Samyn, Paul D. Miller / DJ Spooky

ARCO Art Fair, Forum Auditorium 2, Hall 6.

February 18, 2010, from 12.30 to 2.30 p.m. and from 4 to 8 p.m.

Download the complete program.

Something is happening in the field of art. Postmodernism seems to have been replaced, but nobody is really able to say by what. Art critics such as Nicolas Bourriaud and Carolyn Christov-Bakargiev explained this change looking backwards to Modernism, but Modernism itself is many things, and it’s still not clear if this new modern, or Altermodern, is rooted in a new utopianism, as argued by Christov-Bakargiev, or in creolisation, globalisation and travelling, as suggested by Bourriaud.

What is clear to both is that new technologies, in the broader meaning of the term, are having a central role in this change. Starting from here, and appropriating Ippolito and Blais’ idea that the change will come from artists operating “at the edge of art” – Expanding the Field will involve artists and researchers that address, with different approaches, various new technologies – from the Internet to videogames and biotechnology – and issues and practices of the digital culture, from media hacking to data mining and surveillance. Some of them developed groundbreaking tools now used worldwide by artists operating in different fields; others – such as Tale of Tales – dropped out from the traditional art world in order to bring their idea of art to a different, possibly wider audience. Some feel more comfortable in labs than in museums, and most of them are strongly connected to online communities. Along the panel, they will be invited to introduce their work, addressing their relationship with technology and digital culture, and explaining how the fields they explore are affecting our culture and our concept of art.

Back in 1997, Arthur C. Danto wrote After the End of Art, asserting that, after the Seventies, art entered a “post historical” condition, leaving behind the usual art historical narrative – based on a linear idea of progress – of which Modernism was the swansong; and opening a new era in which “everything can be art”.

This position has been questioned, in recent years, by art critics who claim that Postmodernism is dead, replaced by an art which insistently sets out to explore some of the forgotten dreams of the Modernist project in the light of recent developments in the current socio-cultural landscape.

In 2003, Carolyn Christov-Bakargiev made a first attempt with the exhibition “I Moderni / The Moderns”; and in 2009, Nicolas Bourriaud took up the cause with the exhibition “Altermodern”. While Christov-Bakargiev talked about project-based practices and utopianism, Bourriaud underlined creolisation, globalisation and travelling.

While their discourse is slightly different, both Christov-Bakargiev and Bourriaud seem to agree that new technologies and digital culture play a central role in this change. Christov-Bakargiev wrote: “The digital world is internationalist, as were the modernists (…). The digital mind is a project-based mind, encouraging a sense of ‘agency’, an ability to make choices and act.” And while the Altermodern Manifesto basically describes what Castells called “the information age”, Bourriaud’s previous critical statement explicitly indicates the programmer, the DJ and the web surfer as the cultural figures engaged in reshaping contemporary art practices.

On the other hand other critics are arguing that today innovation in art is taking place out of the fascinating yet limited box that we usually call “the art world”: in science labs, institutes of technology, as well as in public spaces and on the Internet.

If we compare these two different points of view, it is quite easy to see what they have in common: the idea that new technologies are consistently modifying the way we make art and our very notion of art.

This is quite obvious: Modernism itself can be described as the side effect of a revolution in the means of cultural production. At the time, some enthusiastically embraced the new media, some others had to reconsider the way they worked with old media, and some did both these things. Art changed dramatically.

The same is happening today, only amplified to a scale that is difficult to reduce to a theory. It is possible, and highly likely, that the digital revolution had a hand not only in the recent shift toward Modernism, but also in the end of that narrative that Danto identifies with modern art.

Having supported and shown art made with new media and technologies for more than ten years, the Expanded Box makes a seminal contribution to this process. Granted, we can’t be sure that the change will come from New Media Art. Maybe in the end traditional media will react to the challenges of the digital revolution in a way that more tech-savvy artists, too heavily focused on technology, would never imagine. In the meantime, however, we have to acknowledge that New Media Art is the best mirror of the world we live in. At least, I have yet to come across another form of art able to reflect the contradictions of our daily lives on the screen with the effectiveness of the Mattes’ performances; or show how language and narration reacts to the translation processes taking place in a computer as von Bismarck and Maus’ machine does. The other works look at advanced research (Gabrans), talk about chaos and complexity (Nepraš), explore artificial life (Boredomresearch), social use of technologies (Lozano-Hemmer), their appropriation and subversion (Jodi), the magic they can create (Vassileva). Isn’t it “so contemporary”?

FOR IMMEDIATE RELEASE

[Press Images (zip folder, 72 MB)]

[More infos]

Once again, ARCOmadrid is opening up its own particular “black box” to provide room for renowned international artists using new media in their works. The use of new technologies and digital tools in art creation is no longer viewed as anything strange or exceptional, and in fact a large number of artists have already added it to their everyday practise without further ado. This new addition of electronics to art is reflected in the eight spaces at EXPANDED BOX, in a programme coordinated by the Italian critic and curator Domenico Quaranta, a specialist in digital and net art.

“The idea that new technologies, new media, new ways of addressing vital questions, as well as how cultures have contextualised these technological changes, is constantly modifying not only the way in which we live, but also the way in which we make art and even the very notion of art itself”, the curator explains. The evolution has been so fast and digital media have irrupted into our lives with such force that they are transforming absolutely all fields of culture.

This means a true revolution in terms of cultural production, with a rise of techniques such as photography, film and animation. “Some artists have embraced new media enthusiastically, while others are being forced to reconsider the way in which they work with conventional media like painting and sculpture; and yet others have done both things” and, as Quaranta says, “art has changed beyond all recognition”.

With over a decade under its belt already, the EXPANDED BOX programme has been instrumental in this process and, in this upcoming edition, it will take another step further in order to showcase an art that is looking beyond the creative world, “an art that is growing on Internet, that is made in research centres and laboratories and that has the potential to change our current accepted idea of art”, the curator tells us. The public will find a programme that “will try to make collectors and art lovers lose their fear of these changes”, while at once demonstrating that “in the information society, works of art have as much to say as always”.

The reconstruction of art

To give us a rounded perspective, Domenico Quaranta has selected eight projects “capable of clearing showing the diverse facets of this strange diamond we currently know as ‘New Media Art’” or, in any case, those that the curator considered the most interesting “in terms of cultural urgency”, within a field “whose leadership and reputation has seen an exponential growth over recent years”.

This is the case of the Italian collective comprising Eva & Franco Mattes aka 0100101110101101.ORG. In the space of the FABIO PARIS ART GALLERY, they are presenting a complete cycle of their “Synthetic Performances”, in which they reconstruct legendary performances from the history of art through avatars from virtual worlds like Second Life.

Particularly representative of latest trends in this genre is JODI, a duo of artists and one of the hottest names in Net Art since its inception. They will be showing their work in the space of the Berlin gallery GENTILI APRI. At ARCOmadrid this collective from Holland are presenting one of their latest and most subversive works, which revolves around amateur technology and participative media, rewriting folklore in a particular anthropology through the net.

Also from Berlin, the ART CLAIMS IMPULSE gallery is representing the German collective comprising Julius Von Bismarck & Benjamin Maus. The public will have a chance to catch their latest creation, “Perpetual Storytelling Apparatus”, a machine that translates the words from a text into drawings on continuous paper. Like a 21st century “exquisite corpse”, the result reveals a re-contextualization of ideas and fragments, opening the way to a new narrative, creating fascinating stories and intriguing visual metaphors.

Tradition and innovation

Domenico Quaranta’s selection also includes various projects combining new technology with more conventional media or which use these technologies towards classical ends. The latter is the case of the wonderful installation by the Bulgarian artist Mariana Vassileva, presented by the German DNA GALLERY. The artist, concerned with issues cutting across violence, gender, family and social hierarchies, uses the human being in her work as a source of energy and light, exploring themes of human desires like communication, interpersonal relations, personal introspection and solitude.

The Latvian gallery ALMA GALLERY is exhibiting photonic paintings created by the multimedia artist Gints Gabrāns using a laser ray and then registering them on photographic paper. From a profound concern for aesthetics, this artist’s works are a clear instance of how conventional media can be reinterpreted and adapted to new technologies and languages.

On a similar tack, we find the work by the young artist Jakub Nepraš presented by the Portuguese gallery ARTHOBLER. This Czech artist brings three of his video projects together in one single installation. Through the use of assemblage and the layering of individual sequences, the artist creates movement along various axes, generating dynamic and pictorial rhythms in a temporal loop.

The public can also see an evocative work by the UK collective Boredomresearch, comprising Vicky Isley and Paul Smith, who use new media to portray and recreate artificial life. The new series of informatic objects by this duo who work with software art to fuse aesthetics and biology is on view at the space of [DAM] BERLIN.

Finally, the Mexican artist Rafael Lozano-Hemmer is also making a contribution to this summary overview of e-art and new technologies applied to creation. The London gallery HAUNCH OF VENISON is showing one of his latest installations, Reaction Diffusion, which consists of a series of computer-controlled light boxes showing animated images from some of the world’s frontier regions with the greatest migratory traffic and the greatest economic inequality. The social dynamics are, in this case, the object study and reflection for this artist, who uses new media to speak of pressing problems of the moment.

The “black box” at ARCOmadrid_2010 is, as such, “an attempt to rethink more traditional media –photography, video, performance and even painting and sculpture – through the optic of the digital era and to facilitate a mutual dialogue”, and as Domenico Quaranta claims, one of the founding mandates of his selection for EXPANDED BOX.

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Un año más, ARCOmadrid_ 2010 abre su particular ‘caja negra’ para acoger las obras de artistas de prestigio internacional que utilizan para sus obras las técnicas más innovadoras. El uso de las nuevas tecnologías y las herramientas digitales para la creación artística ya no constituye algo raro o excepcional, sino que un gran número de creadores ya lo han incorporado con naturalidad a su práctica cotidiana. Esta incorporación decidida de la electrónica al arte podrá constatarse a través de los ocho espacios que compondrán el programa EXPANDED BOX, coordinado por el crítico y comisario italiano Domenico Quaranta, especialista en arte digital y en red.
“La idea de que las nuevas tecnologías, los nuevos medios de comunicación, las nuevas formas de acercarse a las cuestiones vitales, así como las culturas que han contextualizado estos cambios tecnológicos, están modificando constantemente no sólo el modo en que vivimos, sino también la forma en la que hacemos arte e incluso la propia noción de arte en sí”, afirma el comisario de la muestra. La evolución ha sido tan vertiginosa y los medios digitales han irrumpido en nuestras vidas con tal fuerza que están transformando todos los ámbitos de la cultura.
Este hecho constituye una auténtica revolución en términos de producción cultural, con el auge de técnicas como la fotografía, el cine y la animación. “Algunos artistas han abrazado de forma entusiasta los nuevos medios, mientras que otros se ven obligados a reconsiderar la forma en la que trabajaban con los antiguos medios como la pintura o la escultura; y otros han hecho ambas cosas”, tal y como explica Quaranta, “el arte ha cambiado de forma espectacular”.
En sus más de diez años de trayectoria, el programa EXPANDED BOX ha contribuido a este proceso y, en la próxima edición, dará un paso adelante más para mostrar un arte que mira más allá del mundo creativo, “un arte que crece en Internet, que se produce en los centros de investigación y laboratorios y que tiene potencial para cambiar nuestra idea actual del arte”, destaca el comisario de la muestra. El público encontrará, así, un programa que “intentará hacer perder el miedo a los coleccionistas y amantes del arte ante este cambio de perspectiva”, al tiempo que demostrará que “en la sociedad de la información, las obras de arte tienen tanta fuerza como siempre”.

La reconstrucción del arte

Para configurar esta perspectiva, Domenico Quaranta ha seleccionado ocho proyectos “capaces de mostrar claramente las diversas facetas de ese extraño diamante que actualmente conocemos como ‘New Media Art’” o, en cualquier caso, aquellos que el comisario ha considerado más interesantes “en términos de urgencia cultural”, dentro de un ámbito “cuyo liderazgo y reputación tendrán un crecimiento exponencial en los últimos años”.
Es el caso del colectivo italiano formado por Eva & Franco Mattes aka 0100101110101101.ORG. En esta ocasión, de la mano de FABIO PARIS ART GALLERY, presentarán un ciclo completo de sus “Synthetic Performances”, que reconstruyen performances legendarias de la historia del arte a través de avatares de mundos virtuales como Second Life.
Especialmente representativo de las últimas tendencias en este género, es el dúo de artistas JODI, una de las estrellas desde los orígenes del Net Art, mostrará su obra en el espacio de la galería berlinesa GENTILI APRI. Este colectivo holandés presentará en ARCOmadrid uno de sus últimos y subversivos trabajos, que giran en torno a la tecnología amateur y a los medios participativos, para reelaborar el folklore en una particular antropología a través de la red.
También desde Berlín, la galería ART CLAIMS IMPULSE, representará al colectivo alemán formado por Julius Von Bismarck & Benjamin Maus. El público podrá acercarse a su última creación artística, “Perpetual Storytelling Apparatus”, una máquina que traduce las palabras de un texto en dibujos que se van trazando sobre papel continuo. Como un ‘cadáver exquisito’ del siglo XXI, el resultado revela una re-contextualización de las ideas y fragmentos, abriendo camino a una nueva narrativa, creando historias fascinantes e intrigantes metáforas visuales.

Tradición e innovación

La selección de Domenico Quaranta también incluye varios proyectos que combinan las nuevas tecnologías con medios más tradicionales o que utilizan dichas tecnologías para propósitos clásicos. Este último es el caso de la fascinante instalación de la artista búlgara Mariana Vassileva, que será presentada por la sala alemana DNA GALLERY. La artista, desde una preocupación por temas como la violencia, el género, la familia y las jerarquías sociales, utiliza en sus obras al ser humano como fuente de energía y de luz. Deseos humanos como la comunicación, las relaciones interpersonales, la introspección personal y la soledad forman parte de la temática de su obra.
Por su parte, la galería letona ALMA GALLERY mostrará las pinturas fotónicas que el artista multimedia Gints Gabrāns genera con un rayo láser para registrarlas posteriormente en papel fotográfico. Desde una profunda preocupación por la estética, las obras de este artista son una clara muestra de cómo pueden reinterpretarse los medios tradicionales para adaptarlos a las nuevas tecnologías y lenguajes.
En esta misma línea podría enmarcarse el trabajo del joven artista Jakub Nepraš que será presentado por la sala portuguesa ARTHOBLER GALLERY. Este creador checo, que en sus obras el vídeo, integrará en una única instalación tres de sus proyectos. Mediante el ensamblaje y la superposición de secuencias individuales, el artista genera movimiento a lo largo de diversos ejes, creando ritmos dinámicos y pictóricos en un loop temporal.
El público también podrá acercarse al sugerente trabajo del colectivo británico Boredomresearch –integrado por Vicky Isley y Paul Smith–, que utiliza los nuevos medios para retratar y recrear vida artificial. El espacio de [DAM] BERLIN, acogerá la nueva serie de objetos informáticos de este dúo que trabaja el software art para fundir estética y biología.
Por ultimo, el artista mexicano Rafael Lozano-Hemmer también realizará su aportación a este recorrido por el arte electrónico y las nuevas tecnologías aplicadas a la creación. La sala londinense HAUNCH OF VENISON mostrará en la feria una de sus últimas instalaciones. La obra titulada “Reaction Diffusion” consiste en una serie de cajas de luz controladas a través de ordenador, en las que se muestran imágenes animadas de algunas de las regiones fronterizas del mundo con un mayor tráfico migratorio y una mayor desigualdad económica. Las dinámicas sociales son, en este caso, el objeto de estudio y reflexión del artista, que utiliza los medios más actuales para hablar de los problemas que son de mayor actualidad.
La ‘caja negra’ de ARCOmadrid_2010 constituirá, por tanto, “un intento de repensar los medios más tradicionales –la fotografía, el vídeo, la performance e incluso la pintura y la escultura– a través de la era digita y facilitar su diálogo”, según apunta Domenico Quaranta como uno de los objetivos fundamentales de su selección para EXPANDED BOX.

Expanded Box – Caring for an Expanded Conception of Art

In the vast, variegated panorama of contemporary artistic experimentation there are various practices germinating that find it difficult to carve a niche for themselves in the official discourse and channels, despite the undeniable appeal they possess. The thing that makes them so precious, and as delicate as a flower growing under the snow, is not the fact that they use the “new media”, because everyone uses the media – and now they are anything but new. What makes them so special is the fact that like the aforementioned flower, they contain a new strength, and a new promise. The strength is that of those who go about their lives without a thought for the rules that govern the world they live in, and who create the conditions that enable them to live, successfully, in a radically altered context; the promise regards this radical transformation.

Everyone in the contemporary art field knows perfectly well that the context in which artists operate today was by and large established during the 20th century by Marcel Duchamp, and given structure and supported by a renewed museum and market system. According to this model, art no longer consists in the masterful implementation of a technique (painting, sculpture, music or writing) to present a world (the so-called “real” world, the unconscious world of the Surrealists, etc.). Anything can be art, if given a specific discourse and a specific conception, and if conveyed by means of a specific context. The aura of a work of art, which may be lost and found time and again, is now attributed by means of a precise process of consecration, which takes place on the market and in the museums. Without venturing into value judgements, it will suffice to consider the duration of this model to understand that what comes into being within it now is pure academicism. Murakami is to Duchamp and Warhol as Bouguerau is to Poussin and David. The gradual, unstoppable transition to the information society has radically challenged this model, nurtured in the bosom of the industrial society, but has not succeeded in destroying it altogether. It lives on as an act of faith, a consensual hallucination, a superstition boosted by the fear of what is to come. It survives, and continues to produce masterpieces, basking in the splendour which characterizes all periods of decadence.

The new world is there, just round the corner – or, to return to the cutesy flower metaphor – under the snow. It is in the art that exists outside the confines of the art world, rejecting the “contextual definition” of Duchampian origin which seems to persist, as Joline Blais and Jon Ippolito wrote in their book At the Edge of Art, purely by inertia; it is in the art that seeks out public space, media space, biotechnology labs and the world of information, communications and e-commerce as its operative environment; it is in the art that draws on other practices and other specific fields of knowledge, to a point where at times it has problems seeing itself (and being seen) as art; it is in the art that enthusiastically embraces technological reproducibility, the variability of data and the fluidity of information, abandoning – and radically challenging – the status of precious fetish, and it is in the art that is open to interaction with the spectator, that forges and develops relationships, that breaks down the wall which interrupts and conditions our mental and physical dialogue with a work.

This art exists, and it is at once strong and delicate, timid and aggressive, marginal and supreme. It is entrenched in the contradictions of all revolutions: it rebels against a world, but needs the cares of that world to resist. It has tried to escape, to open up new channels, but in the end it will succeed in changing our idea of art, defeating the academicism and opening the way to the future by means of dialogue and mediation. A future, which as the novelist William Gibson said, is already here, just badly distributed.

The historic function of Expanded Box, the last embodiment of an enduring attention Arco devoted to new media and languages, is precisely that of cultivating and redistributing the future, and supporting an ?expanded? definition of art. In the last ten years, and through different programs, Arco has done exactly that, hosting and offering market opportunities to a growing number of galleries that take up this challenge, at their own risk. When you see this compact block of eight galleries that offer their space to monographic projects – often decidedly ambitious – you could be forgiven for thinking that Expanded Box is one of those typical cultural initiatives increasingly staged on occasion of contemporary art fairs, with the idea of accompanying the dialogue and exchanges between galleries and collectors, but without attempting to compete with them. This is not the case.

Expanded Box, today, is the place where Leo Castelli would go to sell and Alfred H. Barr would go to buy. I am aware that this might sound rhetorical, and possibly a little ingenuous, but I cannot find a non-rhetorical way to say that there, more than anywhere else, the seeds of an evolution are germinating. They rest, well protected, in the machines of Lawrence Malstaf and the interactive environmental installations by Pors & Rao; in the sound installations by Manas and Moori and Thomson & Craighead; in the exploration of the dividing line between matter and the dematerialization of the media undertaken by the Korean Kim Jongku, and in John Gerrard’s 3D animations. They reproduce at the speed of a virus in the works of Joan Leandre, who upends the hyperreal interfaces that filter our rapport with reality, while they lurk in UBERMORGEN.COM’s media hacking activities, which uses low-tech tools to bring the giants of e-commerce to their knees.

For ten years Expanded Box has invested in this new current, the novelty of which, we should reiterate, lies not so much in the media that these works use, but in the culture they reflect and in the idea of art that they open the way for.

UBERMORGEN.COM, EKMRZ Trilogy Seal, 2009. Courtesy Fabio Paris Art Gallery, Brescia (Italy)

Madrid, Arco Art Fair, February 11 – 16, 2009
More infos

Curators: Domenico Quaranta (stands); Carolina Grau (cinema)
Galleries and artists (stands): Arc Projects, Sofia / THOMSON & CRAIGHEAD; Ernst Hilger, Vienna / JOHN GERRARD; Fabio Paris Art Gallery, Brescia / UBERMORGEN.COM; Fortlaan 17, Gent / LAWRENCE MALSTAF; MS Galeria, Madrid / ESTHER MANAS & ARASH MOORI; One and J Gallery, Seoul / KIM JONGKU; Project Gentili, Prato / JOAN LEANDRE; Vadehra Art Gallery, New Delhi / PORS AND RAO.

Expanded Box, today, is the place where Leo Castelli would go to sell and Alfred H. Barr would go to buy. I am aware that this might sound rhetorical, and possibly a little ingenuous, but I cannot find a non-rhetorical way to say that there, more than anywhere else, the seeds of an evolution are germinating. They rest, well protected, in the machines of Lawrence Malstaf and the interactive environmental installations by Pors & Rao; in the sound installations by Manas and Moori and Thomson & Craighead; in the exploration of the dividing line between matter and the dematerialization of the media undertaken by the Korean Kim Jongku, and in John Gerrard’s 3D animations. They reproduce at the speed of a virus in the works of Joan Leandre, who upends the hyperreal interfaces that filter our rapport with reality, while they lurk in UBERMORGEN.COM’s media hacking activities, which uses low-tech tools to bring the giants of e-commerce to their knees.

Catalogue text (eng, pdf)

Press release (eng)

Press release (sp)

Exhibition Images (Picasa):

ARCO 2009

Press (selected):

- Roberta Bosco, ‘Software’ y pan en la cara, in El Pais “Babelia”, February 7, 2009, p. 11. Dowload pdf.

- Roberta Bosco, Stefano Caldana,”El arte digital entra en casa…”, in El Pais, February 19, 2009, p. 8. Download pdf.

- Regine Debatty, “ARCO Beep New Media Award“, in we-make-money-not-art, February 13, 2009.

- Regine Debatty, “ARCO. Expanded Box“, in we-make-money-not-art, February 27, 2009.

- Marco Mancuso, “EXPANDED ART, EXPANDED BOX“, in Digimag 42, March 2009.

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EXPERTS FORUM

NEW MEDIA ART BETWEEN ISOLATION AND INTEGRATION, INTER-DISCIPLINARITY AND MEDIA SPECIFICITY

February, Sunday 15, 2009
Forum Auditorium 1, Hall 6 Sunday 15, from 12.30 to 2.30 p.m. and from 4 to 9 p.m.
Director: Domenico Quaranta
Speakers: Jon Ippolito & Joline Blais, Roberta Bosco, Geert Lovink, Inke Arns, Régine Debatty, Zhang Ga, Joasia Krysa.

Program (pdf)

Jon Ippolito & Joline Blais, “Out of the Hothouse and into the World“, in ThoughtMesh, March 2009.

Press:

- Geert Lovink, “Discussing the Crisis in New Media Art @ ARCO Madrid“, in net critique, February 16, 2009.

- Regine Debatty, “ARCO. Expanded Box“, in we-make-money-not-art, February 27, 2009.

- Video interview