OPEN SOURCE: A Scheme for art production and curating?
Friday May 8, 2009
10am-Noon
AS220 Performance Space/115 Empire St.
FREE.
LIVE STREAM from Positions in Flux Symposium ,at The Netherlands Media Art Institute in Amsterdam, on the changing role of the artist and art institutes in the networked society.
Open Source - A scheme for art production and curating?
This session deals with the concept of open source for art production and its presentation. The open source movement is driven by the idea of collective, process-based, sustainable production and improvement. In software development this strategy has already proven to be valid; however can this model be applied to other products such as artworks or even exhibitions? In how far does the open source model differ from other forms of artistic collaboration? Is there a new role model for both the artist and the curator in the future? Which (economic) value and impact has expertise in open source production? How could institutions and organisations respond to this trend? How could institutions and organisations respond to this trend and create public domains?
Jaromil, dyne.org and researcher at NIMk Denis 'Jaromil' Roio is the main author of the GNU/Linux Live CD Dyne:bolic as well as of a number of audiovisual tools. He is also an artist who has been part of international exhibitions such as CODeDOC II by the Whitney Museum Artport and speaker on conferences such as Ars Electronica. Inspired by Richard Stallman's 'free as in free speech' approach as well as liberatory politics, Jaromil seeks to transgress borders between art and code, social activism and research and development. http://jaromil.dyne.org/journal/
Femke Snelting (NL) and Renée Turner (US) De Geuzen is a foundation for multi-visual research and the collaborative identity of Riek Sijbring, Femke Snelting and Renée Turner. Since 1996 they have employed a variety of tactics to explore female identity, narratives of the archive and media image ecologies. Their work has been featured in events, publications and spaces such as Manifesta 2, Mute, NIMK, Peacock Visual Arts and Furtherfield.org. Exhibitions, workshops and online projects operate as thematic framing devices where the group investigates and tests ideas collectively with different publics. Characterising what they do as research, their work is open-ended, values processes of exchange and promotes critical interrogation. http://www.geuzen.org/
Marcos Garcia, director of Interactivos, Medialab Prado (ES) Medialab-Prado is aimed at the production, research, and dissemination of digital culture and operates at the intersection of art, science, technology, and society. Its primary objective is to create a structure where both research and production are processes permeable to user participation. It has developed a unique workshop model for collaborative art production and knowledge transfer. http://medialab-prado.es/
Joasia Krysa, curator, founder of KURATOR (PL/UK) KURATOR is a cultural organisation operating as a curatorial agency and research platform at the intersection of art and technology. It has a particular interest in an emerging discourse and practice that links curating with software and networks. Krysa's recent curatorial projects include openKURATOR, an open submission and presentation platform developed by KURATOR. She is the editor of 'Curating Immateriality' (Autonomedia, New York 2006) and lecturer/researcher at the AZTEC (Art Science Technology Consortium at the University of Plymouth.) www.kurator.org
Moderated by Josephine Bosma, theoretician and critic (nl) For more than 15 years Bosma's focus has been on media art and media theory. She has published numerous interviews and essays in book collections and in magazines including Mute (UK), Telepolis (D), UHK (NO), and Switch (USA). She played a key part in organizing the radio part of the Next 5 Minutes 2 and Next 5 Minutes 3 festivals, and has edited the streaming media sections of the nettime book, ReadMe and the N5M3 workbook. http://laudanum.net/bosma
