SATURDAY,
NOVEMBER 29TH
19:00
[EXHIBITION / OPENING
]
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FREE ENTRANCE
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FROM NOV. 29TH TO DEC. 6TH
everyday - 15h > 19h
[EXHIBITION]
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EVERYDAY
FREEN ENTRANCE
UNTIL DECEMBER 6TH
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> DATA MEANINGS
Christophe BRUNO :
Dadamètre
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| Netart
France | 2008 [•]
Claude CLOSKY : +1
Netart
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| web
France | 2001 [•]
Mindaugas GAPSEVICIUS :
Bookshelf
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| Installation multimédia, netart
Lithuania | 2006 [•]
Ricardo IGLESIAS, Mario RUIZ :
Evolutional machine, un robot autista
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| Installation multimédia
Spain | 2007 [•]
JODI :
Composite club
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| Installation multimédia
Pays-Bas | 2008 [•]
Joan LEANDRE : In the name of Kernel!: Song of the Iron Bird
Création numérique
| hd
| color
| 0:20:00
Spain | 2008 [•]
Michael Takeo MAGRUDER :
Endless wall
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| Installation multimédia
USA | 2008 [•]
Lee MARC : Oamos
Netart
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| web
Switzerland | 2008 [•]
RYBN, Marika Dermineur, Kevin BARTOLI, Jean-Marie BOYER : Antidatamining
Multimedia Installation
| pure data
| color
| France
2007 | [•]
ÜBERMORGEN :
Sound of Ebay
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| Installation multimédia, netart
Austria | 2008 [•]
The Dadameter is a global index that allows us to measure
the distance separating a given discourse from Dada. Whereas every
one of our behaviors (work, desire, ideology, risk, etc.) are recorded
and tallied by global indices and in the markets of globalized finance, Christophe Bruno constructs new global indices, now in the
domain of art. The Dadameter index seeks to measure the evolution
of the density of Dadaism through time, in the perpetual movement
of discourse, as it is stored on the internet. This is a task inspired
by the work of Raymond Roussel. First and foremost an artistic object,
a unit of measure corresponding to the lapse of language’s aura,
the Dadameter constitutes a parody of itself, all the while using
rigorous scientific tools. It also seeks to question the status
of Science, which has gradually come to serve global marketing and
a generalized form of surveillance.
With his installation entitled “+1,” Claude Closky changes the course of the ideology of interactivity, and brings
together in one device customary technological tools and an elementary
mathematical operation. The only possible action has only one possible
outcome: the addition of a unit to a number, with a wholly unsurprising
solution. With each click, the number increases by 1. The operation
that takes place in “+1” allows for no intervention of chance,
no personal or affective element. It foregrounds relation for the
sake of relation. Absurd, and inherently redundant, this tautology
becomes a critical tool applied to standardized behavior and automatisms.
As he brings the reader face-to-face with the simplest expression
of the principle of causality, one click = +1, Claude Closky redirects
our expectations, as well as our belief in the potential of our
actions to make effective changes in the real world.
The monitors of Mindaugas Gapsevicius’ installation make
up a contemporary library, one containing an infinity of digitized
visual and textual materials described by a continuous flux of numbers
and letters. In this descriptive form, the installation shows the
invisible side of the circulation of information in the network,
which thus becomes readable, which is not to say comprehensible.
This rapid flux of letters and numbers on the monitors has no connection
with chaos theory, a potential factor in large disruptions, nor
with the realm of hackers. The installation “Bookshelf”
is more similar to tcpdump, software that collects data transiting
through a network, and which obtains, through a network interface,
details on visible traffic.
Ricardo Iglesias and Mario Ruiz’s device, “Evolutional
machine, an autistic robot,” looks into the confrontation of two
worlds and the interferences they produce: that is, the world of
technology and the world of living beings. The technological sphere
is inhabited by a series of robots, each of which has been programmed
to have diverse functions, independent of the influence of living
beings. The boundary separating these two worlds is hazy. A recording
and retransmission device establishes a relationship that contradicts
the expected relationship between observer and observed. In space,
on the screen, and on the internet. “Evolutional machine, an
autistic robot” establishes a man-machine relationship based
on a reciprocal interaction. The two elements belong to one logical
system, as opposed to what usually happens in a logic of subjugation
and the subjugated. From our status as agents, we become an integral
part of the logic of relation.
In this installation, JoDi redirects and reinterprets mass-market
video games that use optical reconnaissance and systems for recording
movement, technologies that themselves come from military research
in the 1980s. JoDi rewrites the code of the video games, then puts
them in visual situations that were not taken into account by the
game’s original scenario. Just as it constitutes a reflection
on the strategies of control and the archaic nature of the gaming
devices offered by the video gaming industry, CompositeClub also reflects upon the video game’s narrative device and its strategies
for interaction. The player becomes an observer of the device, and
the video game is faced with a complex scenario that brings to light
the limits of the initial game’s scheme of interaction.
In this installation, the kernel, which is at the heart of most
computer systems, becomes the myth around which a symbolic event
coagulates. It combines travel literature, the alchemy tradition,
science fiction, terrorism and conspiracy theories, computer programming,
mountain climbing, 3-D modeling, satellite mapping, hallucinations
and revelations. Joan Leandre explores the troubled imagination
of a fundamental principle of computer science, without regard for
its potential uses, be they military or dreamlike. The image itself,
which is created by manipulating computers, changes its status.
Along with the images, the blind power of the Kernel appears, the
kernel in whose name all technological usages become possible.
As we enter into the world of “Endless Wall,” we find
ourselves in a surface contained by an insurmountable wall, one
that extends as far as the eye can see. The principle of wandering
in a virtual space, so crucial to video games, comes to be diverted
into other directions here, bringing us face to face with the absurd
and the arbitrary. The endless wall refers to a society divided.
Between those who are on one side and those who are on another.
That is, the good and the bad side. “Endless wall” suggests
a parallel with the walls our computers use, firewalls, which are
designed to block potential intrusions from the other side, and
which are sold to us as a form of protection.
With “Oamos”, Marc Lee has a single mission: To play
and discover content you’ll love - and nothing else. Oamos questions
search engines for uptodate news, images, synonyms, music and videos
in relation to your topics. The content are streamed audiovisually
more or less objective or entertaining, with or without sound, with
or without links.
“Antidatamining” is an online research project, based
on the collection of market and financial data, as well as a number
of socio-economic indicators. These data are archived and categorized,
then submitted to the algorithmic calculations that are part of
data mining. The data are then visualized in written audiovisual
environments, inputted and refreshed in real time. The project’s
aim is to bring to light and predict the phenomena of socio-economic
imbalances, and it seeks to establish a general cartography of imbalance.
Ebay has become the largest market on the earth, a million times
larger and more effective than any market in the world. The installation
“The Sound of Ebay” is Ubermorgen’s contribution
to the soundtrack of the new ultracapitalism in peer-to-peer. Ubermorgen
sends millions of bots, or virtual robots, off to analyze the market
and create songs. The machines create songs, and they replicate
them by the millions in various networks. These are songs of synesthesia,
and each has its own history. |
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Christophe Bruno |
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Claude Closky |
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Mindaugas Gapsevicius |
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Ricardo Iglesias, Mario Ruiz |
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Jodi |
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Joan Leandre |
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Michael Takeo Magruder |
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Lee Marc |
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Rybn, Marika Dermineur, Kevin Bartoli, Jean-marie Boyer |
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Übermorgen |
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