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nettime-fr@ada.eu.org : infos sur nettime-fr | 0 1 |
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Paula Roush <mobilestrategies@hotmail.com> : temporary homes | 0 2 |
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Trebor Scholz <treborscholz@earthlink.net> : KOSOV@ | 0 3 |
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Michael Gurstein <gurstein@techbc.ca> : Shaping the Network Society | 0 4 |
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arn <yann@x-arn.org> : www.x-arn.org | 0 5 |
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Judith Marth <d.pict@mindless.com> : a new issue of d.pict is online! | 0 6 |
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Lorenz Helbling <shangart@uninet.com.cn> : www.shanghart.com update | 0 7 |
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Aleksandar Gubas <gutwine@yahoo.com> : Manifesto of the survivors | 0 8 |
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delivered each weekend into your inbox |
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intro by us, the moderators of nettime..
From: nettime-fr@ada.eu.org
<nettime> n'est pas simplement une liste. <nettime> s'efforce de
constituer un discours international, connecté, qui ni ne soutient
l'euphorie technologique de mise aujourd'hui (et qui consiste surtout
a faire vendre), ni n'entérine ce pessimisme technologique cynique si
souvent étalé par les intellectuels et les journalistes appartenants
aux anciens media, et qui dissertent sur les nouveaux médias sans trop
comprendre ce que ceux-ci veulent dire en temps que formes originales
de communication. Tout en gérant cette liste, le collectif de
<nettime> continuera de produire des livres et des recueils de textes,
ainsi qu'un site ouebe dans diverses langues afin qu'une critique
emmenante du réseau soit apte a circuler aussi bien en- qu'hors-ligne.
<nettime> est une liste légèrement modérée
Historique
Le collectif de <nettime> vit le jours au printemps de 1995. Le
première rencontre sous le nom de <nettime> eu lieu en juin 1995, a la
Biennale de Venise, dans le cadre de la manifestation "Club Berlin".
La liste elle-meme démarra en septembre . Un premier recueil de
textes (ronéotypes) apparut en janvier 1996, le deuxième a l'occasion
de la conférence "The Next Five Minutes", et il y en eu encore deux
par la suite. Ceux-ci constituèrent les "Zentral Kommite Proceedings"
(ZKP 1-4). La liste organisa sa première propre conférence en mai
1997, a Ljubljana ("The Beauty and the East"). Finalement
l'anthologie de <nettime>, "Read Me!" ("Asii Culture and the Revenge
of Knowledge"), un livre de 556 pages fut publiée par Autonomedia a
New York en 1999 (ISBN: 1570270899)
Abonnement
Pour vous abonner (gratuitement) a nettime-fr Envoyez un message
<nettime-fr-request@ada.eu.org> avec le mot "subscribe" dans le sujet.
(pour la liste en anglais: majordomo@bbs.thing.net avec "subscribe
nettime-l" dans le corps du message)
Pour vous desabonner<nettime-fr-request@ada.eu.org> avec le mot
"unsubscribe" dans le sujet. (liste anglaise: majordomo@bbs.thing.net
avec "unsubscribe nettime-l" dans le corps du message
Format
72 caractères par ligne au maximum, pas d'attachements MIME, binhex,
uuuencode. Maximum de 40.000 octets, prière d'envoyer les textes plus
longs en tranches!
Concernant les droits d'auteurs
<nettime> fonctionne suivant le principe de l'économie du don.
CEPENDANT, les auteurs restent bien entendu propriétaires moraux de
leurs écrits. Donc:
- autorisation de retransmettre par mel automatique, a condition
d'inclure le (footer).
- Autorisation préalable des auteurs fortement recommandée en cas de
re-publication sur un site ouebe ou ftp.
- En cas de reproduction sur papier, et lorsqu'il est question de
rémunération ou de transaction monétaire, la permission préalable
des auteurs est OBLIGATOIRE.
Participer a <nettime> est une façon d'atteindre un grand nombre de
travailleurs culturels très productifs. N'hésitez donc pas a inviter
de nouveaux abonnés a se joindre la liste. Vous pouvez utiliser
<nettime> comme un chenal de transmission, comme un filtre convivial
pour vos propres textes, ou pour des textes que vous avez trouves, et
pour des demandes et des faire-part. Ne vous sentez-vous pas très sur
que votre texte convienne a la liste? Jetez alors un coup d'oeil aux
archives a http://www.nettime.org/ pour vous donner une idée de la
trajectoire de la liste depuis ses débuts. Toutes vos questions,
commentaires, suggestions sont les bienvenus! Adressez-les à
<nettime-fr@ada.eu.org>
Texte original: Geert Lovink, Pit Shultz (février 1996)
Cette version: Ted Byfield et Felix Stalder (juillet 1999)
Traduction et léger remaniement par Patrice Riemens (octobre 1999)
To post to this list, send your email to:
nettime-fr@ada.eu.org
General information about the mailing list is at:
http://ada.eu.org/cgi-bin/mailman/listinfo/nettime-fr
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TTTTTTEEEEEEMMMMMPPPPPPOOOOORRRRRAAAAARRRRRYYYYY
TTTTTTEEEEEEMMMMMPPPPPPOOOOORRRRRAAAAARRRRRYYYYY HHHHHOOOOOMMMMMEEEEESSSSS
UK
HHHHHOOOOOMMMMMEEEEESSSSS UK
HHHHHOOOOOMMMMMEEEEESSSSS UK
HHHHHOOOOOMMMMMEEEEESSSSS UK
23rd Nov 6.30-8.30pm 198 Gallery 198 Railton road Herne Hill London SE24
www.temporaryhomes.org.uk
call msdm for more details: 0171 737 3859
a joint effort between msdm, south london and maudsley nhs trust.
ASHA projects, Eaves housing assoc, Riverpoint emergencey hostel and
Sojourner housing assoc. With support from London arts board.
temporary homes.uk is a graphic statement, which addresses the relationship
between the current housing crisis in London and urban regeneration projects
specifically in south London.
Through discussion and debate participants develop work leading to
workshops, based in digital media, video, website design. Residents in each
agency are invited to participate in the temporary homes project, as
critical actors in the urban environment.
Questions about people’s right to the city and desires for the city, form a
basis for discussion. In the exhibition, participants respond through, text,
digital video, and sound work. Contextualised within the broader framework
of activism, local pressure groups and current debate around housing and
homelessness.
you are invited to join us, hope you can make it, msdm
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Carnival in the Eye of the Storm
War / Art / New Technologies: KOSOV@
curated by Trebor Scholz
WHERE:
Portland (Oregon)-USA
STRUCTURE:
Exhibition, Film Series, Conference
DATES FOR EXHIBITION: (Feldman Gallery, Swigert Gallery, Media Gallery:
Pacific NW College of Art)
April 6th to April 29th 2000
DATES FOR CONFERENCE: (REED College to be confirmed)
April 14th to April 16th
DATES FOR FILM SERIES: (NW Film Center)
April 7,14,16,17,21,22,23
Kosov@. Which side are you on? The exhibition and conference attempt to set
up a conversation of opposing voices from the US, Germany, Austria, Serbia,
and Kosov@. The Albanian voices are rarely heard, in the internet you will
find only few of them. The dialogue about Kosov@ is a Western discourse with
some Serbs.
The program (exhibition/ film series/ conference) looks at the use of new
technologies such as the internet for art in response to this war.
Are there meaningful ways for art to intervene? How was this war impacted
by the existence of internet communities such as ³Nettime² and ³Syndicate².
How did this war internationalize these political communities?
³It¹s us the armchair passengers who observe what passes, and decide what
passed. <...> To ³do² something doesn¹t always mean to engage oneself in the
concrete practical situation. Grasping the meaning of historical historical
events can have an impact on them...²(1)
³There is never enough time- for an accurate knowledge of the history of the
region, for reliable, confirmed information, for an instant theory that
explains it all...² (2)
The exhibition offers histories of Kosov@ (ie. establishing a time line).
How was the Internet mobilized by cultural producers in response to the
events of the Kosov@ months? Who had access to new technologies and who did
not? How do we negotiate our ethical stand as artists producing work (or an
exhibition) about a war in the Balkans?
WHY KOSOV@?
Kosov@ is one of the most visible wars of our time that was fought
physically thousands of miles away from the United States. The issues that
are raised by the exhibition will stay with us. It is the first extensive
war since WW II on European territory, directly involving the US and EU
countries. These NATO bombardments caused a split inside leftist groupings
that could not decide which side they should support.
The Western media were largely instrumental to the US / NATO military. Much
more images from Serbia were shown. From March until June 1999 there was a
complete media black out in Kosov@. Which imagery was depicted by the media
to represent this war and why?
While we are caught up with Kosov@ NATO still bombs Iraq every day. The gulf
war happened but it did not happen on TV where the actual
battlefield was not shown. Military strategies had to take the simultaneity
of immediate reporting online into account (ie. Radio B92).
How did art respond to or even intervene with this war? How efficient can
this intervention be? A large number of artworks on the subject will be
made accessible in the PNCA Media Gallery. Now Serbian artists are more
visible than those from Kosov@. The exhibition tries to include both.
The Exhibition in Context
Comparable exhibitions are the "War Zone" exhibition in Vancouver, the
"After The Wall" exhibition in Stockholm and ³War Bulletin² at Postmasters
Gallery in New York. In October there will be a "Annual Show of Artists"
in Belgrade with an online chat option.
This program is part of the necessary effort to investigate the efficacy of
art in relation to the war in Kosov@.
ARTISTS In the exhibition:
CLAUS BACH is a Weimar based artist whose work has been exhibited across
Europe. Exhibitions include "NEW TERRITORY: ART FROM EAST GERMANY"(School of
the Museum of Fine Arts Boston (MA), "ART IN FREEDOM"-artists from Eastern
Europe (Antwerpen, Belgium), "Kunst in Deutschland 1945-1995". Museum
Ostdeutsche Galerie Regensburg (Germany), Galeria Metropolitana, Barcelona
(Spain)
ABDELALI DAHROUCH is a Moroccan artist living in New York. His videos are
shown in the US and Europe. Exhibition include ³The War Bulletin² at
Postmasters Gallery.
PETER FEND is known for his Ocean Earth Project. He has exhibited
extensively and frequently appears in art magazines like Art Forum.
EMILY JACIR is a New York based Palestinian artist whose work has been shown
internationally. She was an artist in residence at Cite International des
Arts, Paris, France and at the Anderson Ranch Arts Center.
MARY KELLY is Professor and Chair of Art and Critical Theory at UCLA. Kelly
was Director of Studios at the Independent Study Program, Whitney Museum of
American Art, New York from 1989 -1996. She has been a contributor to Screen
Magazine, October, and Art Forum. Her published works include "Post-Partum
Document" (1983), "Interim" (1985), "Pecunia Olet" (1989), "Gloria Patri"
(1992), and "Imaging Desire" (1996). Kelly has had solo exhibitions at The
New Museum of Contemporary Art, New York. ³Mea Culpa² Postmasters Gallery,
1999
TOM LECHNER is an emerging artist living in Portland who produced a series
of political cartoons on the subject.
JANINE & LEIF ROSTRON-LIEBENSCHÜTZ
are working as Transformers, artists in disguise. In 1997 they founded the
cultural production group inhabit from which projects as a 'living
workstation' (UK 1998) and the trans-culture-flat' (Germany 1999) were
initiated. Contributions across Europe include: social interventions,
performances, new music, multi-media installations, videos, seminars and
lectures.
JENNY PERLIN is a New York based artist and filmmaker. Her films are shown
at festivals in the US and Europe. Her installations are exhibited in the
United States, Switzerland Germany, and the Czech Republic. She presently
teaches film at Sarah Lawrence College.
MARTHA ROSLER is a photographer, video and performance artist. Her work has
been exhibited internationally. She teaches photography and media at Rutgers
University and lives in New York City. Recent video tapes "Global Taste: A
Meal in Three Courses", "If It's To Bad to Be True, IT Could Be
Disinformation", and "Born To Be Sold- Martha Rosler Reads the Strange Case
of Baby $M".
GORDANA STANISIC is an artist based in Belgrade. She has extensively shown
in Europe.
MIRO STEFANOVIC is a Yugoslavian artist who has recently shown about the
Kosov@ war at ABC NO RIO in New York City.
SCHOLARS
GLENN BOWMAN (CONFIRMED)
anthropologist at Kent University, Canterbury (UK)
publications include:
"Constitutive Violence and Rhetoric of Identity: A Comparative Study of
Nationalist Movements in the Israeli-Occupied Territories and Former
Yugoslavia". Scheduled for publication in Social Anthropology in 2000.
"Xenophobia, Fantasy and the Nation: The Logic of Ethnic Violence in Former
Yugoslavia", pp. 143-171 in Anthropology of Europe: Identity and Boundaries
in Conflict
BORIS BUDEN (CONFIRMED)
is a writer and theorist from Zagreb. He is the editor in chief of Bastard
and presently lives in Vienna, Austria.
<http://www.arkzin.com/bb>
BRIAN HOLMES (CONFIRMED)
is an art critic, translator, and member of the graphic arts collective Ne
pas plier in Paris. He holds a Ph.D. in Romance Languages from UC Berkeley.
Among his recent publications: "On Transnational Civil Society" in ReadMe,
filtered by nettime (Autonomedia, 1998).
FLORIAN ZEYFANG (CONFIRMED)
is a German artist/ video maker who has done research
into the field of representation as related to digital technologies and
to video/TV; as well as on art and politics in the internet. He has shown in
Europe and the US and published in various magazines.
(Shows include: "3D à la main", Bremen 1999, "I Said I Love. That Is The
Promise", NY1999, "We Are Somewhere Else (Already)", NY 1998)
THOMAS KEENAN (CONFIRMED)
directs the Human Rights Project at Bard College, where he
also teaches literary theory and media studies. He has taught previously
at SUNY Binghamton and Princeton University. His publications include FABLES
OF RESPONSIBILITY (Stanford UP, 1997), two edited volumes on THE END(S) OF
THE MUSEUM (Fundacio Antoni Tapies, Barcelona, 1995), and essays on media,
humanitarianism, and war in Bosnia, Somalia, and Kosov@.
GEERT LOVINK (CONFIRMED)
(1959, Amsterdam), media theorist and activist.
HOLGER KUBE VENTURA (CONFIRMED)
art historian, critic, curator of the Kassel Kunstverein. Publications
include: ³Surfing Systems: Die Gunst der 90er Jahre- Positionen
zeitgenössischer Art.² Lectures include: ³ Theorie mit politics.
FILM SERIES
The films are documentaries on Kosov@
Venue: NW Film Center
Films planned for screening:
Anri Sala (Albania) ³Intervista²
Emir Kusturica (Yugoslavia) ³Underground²
Julian Chomet (Macedonia) ³MACEDONIA: The next Bosnia?²
Christophe Talczewski
³YUGOSLAVIA: Origins of War²
Ilan Ziv ³YELLOW WAPS: Anatomy of a War Crime²
Alan Resnais ³Night and Fog²
Dusan Makavejev (Yugoslavia):
"Montenegro"
Dan Reed: ³The Valley² (CNN)
³Victim of Gegraphy² produced by ³Visual Heroes² (Glasgow)
Michael Benson ³Predictions of Fire²
³Pretty Flame² Srdjan Dragojevic and
³Planet Sarajevo² Sahin Sisic
THE CURATOR
TREBOR SCHOLZ, an artist and curator born in East Germany, is now
Assistant Professor of Fine Art at Pacific Northwest College of Art. A
graduate of the Whitney Museum of American Art Independent Study (studio)
Program in New York City, he has exhibited and lectured in both Europe and
the United States. His book "Surfacing at a Different Place" was
published by Green Press, London in 1997.
-------
notes
(1) (2) (3)- ³Bastard², editor in chief: Boris Buden
Kosovo /Kosova has been referred to here as Kosov@ in the attempt to retain
both the ³o² and ³a² characters used in both (Serbian and Albanian)
spellings (spelling taken from "Bastard")
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> -------------------------------------------------------
> Please distribute widely to interested people and lists -- thanks!
> -------------------------------------------------------
>
> Shaping the Network Society
>
> The Future of the Public Sphere in Cyberspace
>
> DIAC-00
>
> A Directions and Implications of Advanced Computing (DIAC) Symposium
>
> Sponsored by Computer Professionals for Social Responsibility
>
>
> First Call for Abstracts / Papers
>
>
> May 20 - May 23, 2000
>
> Seattle, Washington, USA
> _________________________________________________________________
>
> Cyberspace may become the dominant medium through which people create
> and share information and ideas. How their conversations about the
> environment, culture, leisure, and political decisions, are conducted
> and how they are resolved are likely to have major social implications
> in the future. What directions and implications does cyberspace foretell
> for community, democracy, education and culture? Addressing those
> questions may be among the most urgent tasks facing humankind today.
>
> The objective of DIAC-00 is to integrate many perspectives,
> conversations, and people from around the world on the topic of public
> space in cyberspace: What is it? What should it be? What would we do
> with it? What can we do about it?
>
> While DIAC-00 will present "best practices" and other lessons learned
> "from the field" there is an urgent need for theoretical work (or
> "condensed practice") as well. For that reason, DIAC-00 is strongly
> encouraging reflective work on strategic and policy levels. There is
> enormous energy found at the grassroots level and it is growing. The
> big problem today is framing the idea of public space in cyberspace in
> a way that engages intellectuals, decision-makers, artists, and
> citizens. This can only be done by combining "best practice" stories
> with strong provocative conceptualizations of what is happening in our
> world and how public cyberspace can play a role. We need theories,
> concepts that can help us discuss, reflect, and take action on these
> critical matters. As an integral part of the DIAC-00 conference social
> scientists, engineers, computer scientists, artists, journalists, and
> other members of the research community will contribute their thinking
> on these pressing issues:
>
> * Community Informatics
> * Civic Knowledge, Civic Infrastructure
> * New Tools, Applications, Services, and Institutions
> * Theoretical Frameworks
> * Methodological Frameworks
> * Critical Theory
> * Social Economy of the Internet
> * Computers, Work, and Cyberspace
> * New -- and Retooled -- Media
> * Participatory and Community-Centered Design
> * Community Initiatives
> * Public Access and Community Networks
> * Practitioner and Researcher Co-Learning
> * Bridging the Digital Divide
> * Cyberspace Policy -- Social Policy -- Cultural Policy
> * Computer-Supported Community Work
> * Localism and Globalism
> * International Perspectives and Partnerships
> * Social Movements and Collaborations
>
> DIAC-00 will be a multifaceted event. This call for abstracts / papers
> addresses the research or academic component of the symposium. There
> are other opportunities for participation within this framework. The
> guidelines for workshop proposals will be released soon.
>
> DIAC-00 will be the seventh symposium sponsored by Computer
> Professionals for Social Responsibility in the "Directions and
> Implications of Advanced Computing" series.. DIAC-00 is intended to
> broaden the discussion and awareness about the future of cyberspace
> both in terms of topics and in terms of participation. It is also our
> intent to provide visibility to topics and perspectives that are often
> neglected by the media.
>
> Each extended abstract should contain a description and outline of the
> work, supporting evidence and data, and references. Abstracts and
> papers should be written in English. All extended abstracts should be
> submitted (in plain text only!) electronically to Peter Day
> (p.day@btinternet.com). Abstracts should be fewer than 2,000 words.
> Authors should remember that they will be addressing non-academics as
> well as academics at this conference and avoid jargon whenever
> possible. Citations should follow the Harvard Citation guidelines.
>
> Academic Program Committee: Phil Agre (US), Amy Bruckman (US),
> Natasha Bulashova (Russia), Gary Chapman (US), Steve Cisler (US),
> Greg Cole (US), Peter Day (co-chair; UK), Fiorella de Cindio
> (Italy), Susana Finquelievich (Argentina), Michael Gurstein
> (Canada), Toru Ishida (Japan), Peter Mambrey (Germany), Kate
> ODubhchair (UK), Marco Padula (Italy), Volkmar Pipek (Germany),
> Jenny Preece (US), Amanda Reggiori (Italy), Lodis Rhodes (US),
> Douglas Schuler (co-chair; US), Lisa Servon (US), Erik Stolterman
> (Sweden), Peter van den Besselaar (Netherlands), Murali Venkatesh
> (US), Ken Young (Australia).
>
> Important Dates: February 15, 2000 extended abstracts due; March 15,
> 2000 feedback given to authors; May 1, 2000 revised abstracts due.
> May 20 - May 23, 2000 DIAC-00. The final papers, ready for book /
> journal, will be due sometime in summer 2000. We are planning to
> publish all submitted abstracts on our web site. We are planning to
> publish accepted papers in a book or journal. The academic program
> will be thoroughly integrated with the rest of DIAC-00.
>
> We are pleased to be a member of the Global 2000 Virtual Community
> Coalition. The Global 2000 Virtual Community Coalition is a loosely
> affiliated group of people, organizations, and events all over the
> world who are working together in the year 2000 to help promote
> democratic use of communication technology and discourage social
> exclusion due to inequitable access to communication.
>
> DIAC-00 is sponsored by Computer Professionals for Social
> Responsibility and co-sponsored by the Association For Community
> Networks and Friends and Partners. Please contact us if your
> organization would like to become a co-sponsor or endorser. We'd
> like to thank the Morino Foundation for their support.
>
> For more information about the symposium, please see the web site
> (http://www.scn.org/cpsr/diac-00) or contact conference organizer
> Doug Schuler, douglas@cpsr.org, 206.634.0752.
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http://www.x-arn.org/x/btm/listlink/
'a critical approach about data mining and knowledge accessibility'
(bugsreport:
arn@x-arn.org)
(behavior
check : http://x-arn.org/x-00)
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a new issue of d.pict is online!
d.pict issue 3 winter 1999/2000 JAPAN
Read and See:
- Dumb Type's piece "Memorandum"
- Susanne Lorenz garden installation "after Japan"
- MOMA's curator's Japan diary
- Shu Lea Cheang's new Sci-Fi-Porn I.K.U.
- Hannah Falasamura's thoughts on Japan
- Ricarda G.s "How To Haiku"
- Caroline Jäkel "Sensorium" website
- Shibuyahot on Japanese music culture "Nonstop To Tokyo"
- Get the "Japanes Robots Meet" screensaver
- Interview with John David Morley / Sign 3
"Welcome To Tokyo, Please Follow The Rules"
--------------------------------------------------
http://www.depict.de
d.pict - netzine for arts and cults
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It was a busy autumn for ShanghART with 3 solo exhibitions (ZHOU TIEHAI,
PU JIE and currently YU YOUHAN) in our gallery and a larger group
exhibition in the Jinmao Building. Shi Yong's new internet project is now
also on the web. And the Shanghai Art Fair is opening Nov. 22.
All the exhibitions are now documented on our website www.shanghart.com
- YU YOUHAN: "Ah, Us!" (Nov 18-28)
- PU JIE: "Right Here, Right now" (Nov 3-14)
- ZHOU TIEHAI: "Don't Be Afraid to Make Mistakes" (Oct.99)
- GLOBAL FORUM Contemporary Art Exhibition (Oct. 99)
- SHI YONG: "Made for you: What do you need?"
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YU YOUHAN: "Ah, Us!" (Nov 18-28)
New works and a totally new turn by one of the key figures of the Chinese
avant-garde.
----------- to view at: http://www.shanghart.com/sh-yyh.htm -----------
These works are a far cry from the Shanghai artist's earlier
trademark "Maos" (which helped unleash the highly-charged "Political Pop"
art movement in the early 90s, and catapulted the artist to international
attention), but they grapple with more complex and ambivalent issues: the
crushing weight of China's history and its relationship to a commodified,
driftless present. (Grace Fan)
---------
Yu Youhan on his work of the last few years:
"It doesn't matter whether or not my eyes are open or shut, all I see are
people, our Chinese people. I am also Chinese. I am one of them. For them,
I gather all my emotions and understanding, I spent my past doing so and I
am going to spend my future doing that too. Toward them, I experience both
hate and love. It is they, no, I should say it is we who continually
occupy my heart, my mind, and my eyes. Except for "We", what else should I
be concerned about? Our past was glorious, too. "We were far richer than
you before"(Lu Xun, the great Chinese modernist writer). I know that we
are smart. Or that we are going to show that we are smart. But I am not
certain whether we are already smart or not, now. I can only sense it,
with the limits of my current intelligence. We are more than tens of
hundreds of millions of people all packed together, we are living, we are
moving, we are desirous, we are giving off heat again, the ground is
shaking under our feet, and we are conserving ourselves. We haven't yet
built up order, we haven't even talked of elegance, and we also don't
understand harmony either.
We know only that we are living. We ought to be living. It is possible for
us to be living. Given our past, given our present, we can surely live up
to the future. As long as we are still capable of learning, we can
certainly live better in the future."
-Yu Youhan, 1999
-----------------------------
PU JIE: "Right Here, Right now" (Nov 3-14)
to view at: http://www.shanghart.com/sh-pj.htm
Cities are the places where things are happening now in China, enourmous
physical, economical and also psychological changes; and Shanghai is the
city of the moment, at least, that is the feeling you get from living
here. Pu Jie lives here, and he is reacting to the town. He is not the
scholar-painter from the past who tries in the quietness of his study to
create an ideal, peaceful counter-world to the dusty world outside. Pu
Jie's works have nothing escapist, he lives here, and he expresses what he
sees and thinks.
Life in Shanghai flows fast and Pu Jie paints fast, but with a unique
ability to pack countless details on canvas. He creates magnificiant works
full of density. Each look at a painting lets you discover something new,
a new face you haven't seen there before, a symbol, a comment etc. Pu
Jie's work allows you to discover a moment of the life of the city, frozen
on a canvas with all the details you normally may not pay attention to.
-----------------------------
ZHOU TIEHAI: "Don't Be Afraid to Make Mistakes" (Oct.99)
First presentation of Zhou Tiehai's "PLACEBO".
http://www.shanghart.com/sh-zth.htm
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GLOBAL FORUM Contemporary Art Exhibition
with works by Ding Yi, Geng Jianyi, Ji Wenyu, Li Shan, Ma Yunfei, Pu Jie,
Qiu Deshu, Shen Fan, Wang Guangyi, Wei Guangqing, Wu Yiming, Yu Youhan,
Xue Song, Zeng Fanzhi, Zhou Tiehai etc.
to view at: http://www.shanghart.com/sh-glo.htm
-----------------------------
SHI YONG: "Made for you: What do you need?"
Second part of Shi Yong's internet project "Made for You"
(created for the 'Food for Though' exhibition in Holland)
to view & parcipitate go to: http://www.shanghart.com/shiyong/
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ART FAIR
-----------------------------
Also, the Shanghai Art fair is happening again (Nov. 23-28).
NEW: Art Fair Exclusive Preview Charity Evening:
Monday, November 22nd, 1999
730pm, INTEX HALL ( opp. Shanghai Mart )
TICKETS CAN BE PURCHASE AT THE DOOR.
CALL SUNNY AT TEL. 62266463/ 62254977 FOR MORE INFORMATION.
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www.shanghart.com
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ZADRUGA (CO-OP) group
ZADRUGA group was formed in October 1999. It aims to assemble young
people from various creative guilds, chiefly audio-visual ones.
Notorious catastrophic situation in Serbia affected the field of
culture too. Young creative minds find it almost impossible to create
and present their work in any normal way. This resulted in a need to
unify various young talents with the sole aim of sustaining and
popularizing alternative culture.
PROUD
ZADRUGA
MANIFESTO
ZADRUGA (CO-OP)
* What is Zadruga?
Art. 1
Zadruga is a group of authors and activists in various audio-visual
media unified by the stubborn wish to survive in the wastelands of
Serbian cultural scene and by a sense of unique cultural mission in
broader terms.
* What does Zadruga want?
Art. 2
Zadruga is fascinated by democratic nature of new technologies and
audio-visual media and it aims to explain it to common people.
Zadruga is a Prometheus of technology in the Balkans, conceptualizing
its utilization, investing it with a human touch and uprooting
technophobia.
* Whom is Zadruga addressing?
Art. 3
Zadruga is addressing the young and the flexibly-spirited;
consequently, its important aims include promotion, affirmation and
gathering of young authors as well as invigorating their influence.
Art. 4
One of the particularly important aims of Zadruga is decentralization
of culture and de-provincilization of "the country". Therefore
Zadruga pays special attention to organize and host its programs in
various places outside Belgrade and to widely promote authors working
outside Belgrade.
Art. 5
Believing that its work is not and should not be elitist, the
programs of Zadruga insist on live communication with the audience.
Desisting from being a hermetic, esotheric group of untouchable
authors and self-satisfied activists, Zadruga insists on openness
towards a bipartizan communication.
Art. 6
Being aware of living in an era of communication, Zadruga exchanges
ideas with its geocultural environment and makes a part of a global
community.
* How does Zadruga function?
Art. 7
Zadruga functions by offering various projects which are in tune with
fundamental ideas of Zadruga and committed to a new cultural practice
allowing Zadruga to prove that opposites can be constructively
linked: technology and soul, avantgarde and populism, computers and
taverns, dedication and hedonism....
* What does Zadruga think?
Art. 8
At the threshold of a new millennium, the civilization developed
sophisticated technological tools. At the same time, it is faced with
a need to answer important questions about itself. Zadruga sprang in
a country at the technological rear of civilization where
civilizational dilemmas are in their full blast. Utilizing domestic
human and conceptual resources and a unique geopolitical experience,
Zadruga was established to employ technology so as provide answers to
those questions.
Art. 9
Zadruga is saucy and impudent because instead of repeating
platitudes, it seeks its own answers.
********************
ZADRUGA INFO
The founding members of the Zadruga group - quite successful in their
activities in the last couple of years - are:
- LOW-FI VIDEO project, Belgrade
- STRIPER, Belgrade
- CORROSION group, Belgrade
- OUR Pictures, Belgrade
*LOW-FI VIDEO project was launched in July 1997 with the idea to
promote and affirm domestic low-budget short film. Its mission is to
build the aesthetic of unpretentious cinema and undermine elitism in
cinematography. LOW-FI VIDEO programs screened almost 300 films by
more than 100 young Serbian authors, and at 40 organized screenings
attracted the audience of some 6000.
*STRIPER exists since 1996. It managed to invigorate and refresh
Yugoslav authorial comics scene by organizing exhibitions, workshops
and web presentations. It published comic books that featured some 50
young mostly domestic authors.
*CORROSION is a computer group established in 1992. It deals with
music (all kinds of electronic as well as ambiental music), graphics,
web design, programming, creation of INTROs, DEMOs and concerts.
CORROSION actively cooperates with some 150 young computer-creative
persons from the country and abroad.
*OUR Pictures is the newest of all labels inside ZADRUGA (started in
May 1999), but its members are the most experienced individuals. OUR
Pictures makes soundscape and musical pieces, as well as primitive 2D
computer animations (sillymations).
**********
The first in the sequence of official activities of ZADRUGA is the
program titled RECYCLING. We shall run it in all towns of Serbia
where it's technically feasible.
RECYCLING is an evening show presenting all ZADRUGA founding members.
It lasts 3-6 hours and is divided into several blocks that succeed
one another by turns.
The program opens a comics exhibition and Video-Strip-Show (duration:
30 min.) and is followed by successive LOW-FI VIDEO film screenings
(up to 60 min.), intermezzo audio segments of COMMUNICATION NOISES
(15 min.) and computer UPDATE (presentation of DEMOs, up to 60 min.)
It ends with the audio-video concert of the CORROSION group.
The content of each segment of the program titled RECYCLING is
subject to change during the tour as it commands plenty of films,
comics, computer DEMOs, animation, music and sounds.
**********
ZADRUGA intends to go on with its activities both by joint action and
individual projects of its members. Any individual or organization is
free to become a member of ZADRUGA.
The representatives of Zadruga:
Milos Kukuric (LOW-FI VIDEO)
Radovan Popovic (STRIPER)
Igor Djordjevic (CORROSION)
Aleksandar Vasiljevic (OUR pictures)
e-mail: zadruga@email.com
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