A manifesto for global art [email_address] Katowice 21 November 2008
Global Art <ul><li>What is it ? </li></ul><ul><li>Who does it ? </li></ul><ul><li>Do we need it ? </li></ul>
Not on Wikipedia Not communication art Not space art Not planetary art Not network art Not satellite art But related to al...
What is it ? <ul><li>Art that reflects and promotes a planetary sensibility  </li></ul><ul><ul><li>Change of scale (we are...
7 Big Questions <ul><li>What is the influence of globalization on art ? </li></ul><ul><li>How is globalization represented...
Great variety <ul><li>Earth as artform (land art, etc.) </li></ul><ul><li>Global spectacle (object of contemplation) </li>...
Marshall McLuhan <ul><li>The planet and Nature were obsolesced by Sputnik in October, 1957, and have become art form also....
Yann Arthus-Bertrand
La Terre vue du ciel
Historical Overview ( the split of global art from communications arts ) <ul><li>1914: F.T. Marinetti uses a telephone in ...
Satellite Arts Project <ul><li>Kit Galloway and Sherrie Rabinowitz (1977) </li></ul>
<ul><li>July 1977: Joseph Beuys, Nam June Paik and Douglas Davis perform live at Documenta 6 and are broadcast by West Ger...
La plissure du texte (1983)
Tom Klinkowstein <ul><li>Joining McDonalds of the world via videoconference </li></ul><ul><li>(1984) </li></ul>
Joe Davis Red Ruby Falls (project 1984)
Jean-Marc Philippe <ul><li>Message à l’univers (1986 -)  </li></ul>
Stéphan Barron <ul><li>Le bleu du ciel (1994-2000) Tourcoing -Toulon and Paris-Munich </li></ul>Le Jour et la nuit (1995 -...
Fred Forest
Le centre du monde (Fred Forest 1999)
Philippe Boissonnet <ul><li>Territoires (peau)ssibles (2003-2004) </li></ul>
La conscience des limites Gaia, 1992 Galileo, 1993
Ingo G ünther <ul><li>World processor (1998-2006) </li></ul>
Sensorium The Japanese concepts of &quot;I (myself)&quot; and &quot;human being&quot; reflect the essential and ambivalent...
Stelarc  Ping Body
<ul><li>During the Ping Body performances, what is being considered is a body moving not to the promptings of another body...
Rafael Lozano-Hemmer
Alzado Vectorial Mexico City 1999-2000
Lorella Abenavoli Le Souffle de la Terre (1996-2002) Nox Mater with  Nicolas Reeves 2007
Maurice Benayoun <ul><li>Cosmo- </li></ul><ul><li>Polis </li></ul><ul><li>Beijing </li></ul><ul><li>2007 </li></ul>
Emotional Traffic 2005
TRANSINTERACTIVITY
Example Sites – Initial Installation Examples: BCE Place  or  Eaton Center, Toronto
Galleria Vittorio Emannuelle II in Milan
Eaton Center - Toronto Eaton Gallery Toronto People will approach a large screen onto which a live, life-size, remote imag...
Eaton Center - Toronto People in one place will see and hear the distant persons as if they were physically present.
Eaton Center - Toronto The distant surroundings will appear to be a natural continuation of the local space
Eaton Center - Toronto
Why do we need this category ? <ul><li>It invites patrons and the general public to graduate mentally and socially to the ...
Feeding global emotions
In the electric age, we wear all mankind as our skin
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Global Art Manifesto

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Global Art Manifesto by prof. Derrick de Kerckhove (University of Toronto), presented at New Media Days, Katowice 2008, www.dninowychmediow.pl

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Global Art Manifesto

  1. 1. A manifesto for global art [email_address] Katowice 21 November 2008
  2. 2. Global Art <ul><li>What is it ? </li></ul><ul><li>Who does it ? </li></ul><ul><li>Do we need it ? </li></ul>
  3. 3. Not on Wikipedia Not communication art Not space art Not planetary art Not network art Not satellite art But related to all the above
  4. 4. What is it ? <ul><li>Art that reflects and promotes a planetary sensibility </li></ul><ul><ul><li>Change of scale (we are all globalized by carrying a cellular phone) </li></ul></ul><ul><ul><li>Accelerating environmental awareness (the new ground of human experience) </li></ul></ul><ul><ul><li>Continental imagination (Europe as an intermediate step for global community) </li></ul></ul><ul><ul><li>Everyware (immersed in a single data environment) </li></ul></ul><ul><ul><li>Ubiquity and simultaneity, a transcultural condition </li></ul></ul>
  5. 5. 7 Big Questions <ul><li>What is the influence of globalization on art ? </li></ul><ul><li>How is globalization represented in art and in popular culture ? </li></ul><ul><li>Did globalization initiate new genres ? </li></ul><ul><li>Is there such a thing as a global sensibility? </li></ul><ul><li>How can the local reflect the global ? </li></ul><ul><li>Is global art socially and politically conscious? </li></ul><ul><li>What new paradigm is reflected in global art? </li></ul>
  6. 6. Great variety <ul><li>Earth as artform (land art, etc.) </li></ul><ul><li>Global spectacle (object of contemplation) </li></ul><ul><li>Global connections </li></ul><ul><li>Glocal contractions </li></ul><ul><li>Interlocal interactions </li></ul><ul><li>Etc.. </li></ul>
  7. 7. Marshall McLuhan <ul><li>The planet and Nature were obsolesced by Sputnik in October, 1957, and have become art form also. Sputnik saw the birth of ecology, and Art replacing Nature (1974). </li></ul>
  8. 8. Yann Arthus-Bertrand
  9. 9. La Terre vue du ciel
  10. 10. Historical Overview ( the split of global art from communications arts ) <ul><li>1914: F.T. Marinetti uses a telephone in a pre-multimedia performance at the Doré Gallery, London. </li></ul><ul><li>1922: László Moholy-Nagy produces his &quot;Telephone Paintings&quot;. </li></ul><ul><li>1963: Nam June Paik: &quot;Electronic Television&quot;. </li></ul><ul><li>1968: &quot;Art by Telephone&quot;, Museum of Contemporary Art, Chicago. </li></ul><ul><li>1969: &quot;Wipe Cycle&quot; </li></ul><ul><li>1970: Gordon Mumma: &quot;Conspiracy 8&quot; </li></ul><ul><li>1973: Elvis Presley: Aloha From Hawaii via satellite - First music concert broadcast live via satellite around the world. </li></ul><ul><li>On December 29, 1976, with the support of the Contemporary Arts Museum in Houston, Douglas Davis performs &quot;Seven Thoughts&quot; in the empty Houston Astrodome </li></ul><ul><li>Kit Galloway and Sherrie Rabinowitz: Satellite Arts Project - two groups of dancers are interacting at two different locations, three thousand miles apart. </li></ul>
  11. 11. Satellite Arts Project <ul><li>Kit Galloway and Sherrie Rabinowitz (1977) </li></ul>
  12. 12. <ul><li>July 1977: Joseph Beuys, Nam June Paik and Douglas Davis perform live at Documenta 6 and are broadcast by West German TV to many countries, including the USSR. </li></ul><ul><li>1977: &quot;Send/Receive&quot;, organised by Liza Bear and Willoughby Sharp in New York, and by Sharon Grace and Carl Eugene Loeffler in San Francisco. (&quot;le projet [...] utilisait un satellite pour une transmission interactive de quinze heures reliant les deux villes)&quot; </li></ul><ul><li>1977: &quot;WorldPool&quot; collaboration (Robert Adrian, Norman White). </li></ul><ul><li>1978: Open Space Gallery in Victoria, Canada, conducts several live Slow-Scan video transmissions with other groups of artists in New York City, Memphis, Toronto, Oakland, Vancouver, San Diego and San Francisco. </li></ul><ul><li>1979: Audio Scene 79 at Modern Art Galerie, Vienna </li></ul><ul><li>1980: &quot;Artists' Use of Telecommunications Conference&quot;, Museum of Modern Art, San Francisco (curated by Carl Eugene Loeffler). </li></ul><ul><li>Galloway/Rabinowitz: &quot;Hole in Space&quot;, New York-Los Angeles video link. </li></ul><ul><li>1982: &quot;The World in 24 Hours&quot;, by Robert Adrian, Ars Electronica, Linz </li></ul><ul><li>&quot;Levittown&quot;, Utrecht, by Tom Klinkowstein. </li></ul><ul><li>&quot;Telesky&quot;, Australia, by Eric Gidney. </li></ul><ul><li>&quot;La Bourse de l'imaginaire&quot;, by Fred Forest, Paris (&quot;projet réunissant la télématique, la télévision, la radio et le téléphone&quot;). </li></ul><ul><li>In 1983 several authors in various countries were working on an interactive &quot;planetary fairy-tale&quot; as part of Roy Ascott's project &quot;La Plissure du Texte&quot;. Visitors to the exhibition Electra, which was organized at the Musée d'Art Moderne de la Ville de Paris in 1983, were able to witness the production of a text on screens connected to the authors' computer terminals. </li></ul>
  13. 13. La plissure du texte (1983)
  14. 14. Tom Klinkowstein <ul><li>Joining McDonalds of the world via videoconference </li></ul><ul><li>(1984) </li></ul>
  15. 15. Joe Davis Red Ruby Falls (project 1984)
  16. 16. Jean-Marc Philippe <ul><li>Message à l’univers (1986 -) </li></ul>
  17. 17. Stéphan Barron <ul><li>Le bleu du ciel (1994-2000) Tourcoing -Toulon and Paris-Munich </li></ul>Le Jour et la nuit (1995 - Adelaide-Paris) Ozone 1999
  18. 18. Fred Forest
  19. 19. Le centre du monde (Fred Forest 1999)
  20. 20. Philippe Boissonnet <ul><li>Territoires (peau)ssibles (2003-2004) </li></ul>
  21. 21. La conscience des limites Gaia, 1992 Galileo, 1993
  22. 22. Ingo G ünther <ul><li>World processor (1998-2006) </li></ul>
  23. 23. Sensorium The Japanese concepts of &quot;I (myself)&quot; and &quot;human being&quot; reflect the essential and ambivalent &quot;network-like&quot; nature of our being. The Japanese &quot;I&quot; (&quot;jibun&quot;) implies the existence only within a relational context, one that comprises both the relational aspects within myself and the holonic and relational structure of the universe.
  24. 24. Stelarc Ping Body
  25. 25. <ul><li>During the Ping Body performances, what is being considered is a body moving not to the promptings of another body in another place, but rather to Internet activity itself - the body's proprioception and musculature stimulated not by its internal nervous system but by the external ebb and flow of data.&quot; </li></ul>
  26. 26. Rafael Lozano-Hemmer
  27. 27. Alzado Vectorial Mexico City 1999-2000
  28. 28. Lorella Abenavoli Le Souffle de la Terre (1996-2002) Nox Mater with Nicolas Reeves 2007
  29. 29. Maurice Benayoun <ul><li>Cosmo- </li></ul><ul><li>Polis </li></ul><ul><li>Beijing </li></ul><ul><li>2007 </li></ul>
  30. 30. Emotional Traffic 2005
  31. 31. TRANSINTERACTIVITY
  32. 32. Example Sites – Initial Installation Examples: BCE Place or Eaton Center, Toronto
  33. 33. Galleria Vittorio Emannuelle II in Milan
  34. 34. Eaton Center - Toronto Eaton Gallery Toronto People will approach a large screen onto which a live, life-size, remote image is projected.
  35. 35. Eaton Center - Toronto People in one place will see and hear the distant persons as if they were physically present.
  36. 36. Eaton Center - Toronto The distant surroundings will appear to be a natural continuation of the local space
  37. 37. Eaton Center - Toronto
  38. 38. Why do we need this category ? <ul><li>It invites patrons and the general public to graduate mentally and socially to the global scale </li></ul><ul><li>It recognizes a visible trend in artistic activities </li></ul><ul><li>It can communicate global emotions </li></ul><ul><li>It may improve attitudes towards the environment </li></ul><ul><li>It functions homeopathically </li></ul>
  39. 39. Feeding global emotions
  40. 40. In the electric age, we wear all mankind as our skin

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