New York
Upgrade! NY
September 2005
A team of multidisciplinary artists based in Jerusalem.
The Sala-manca Group is Lea Mauas and Diego Rotman, Argentine-Israeli artists who have been creating work in performance, video, installation and new media since 2000. Sala-manca’s works deal with the poetics of translation, the tensions between low tech and high tech aesthetics, as well as social and political issues. Read On
Eyebeam was pleased to host the first gathering of the Upgrade! International.
This event/exhibition was an opportunity to learn from organizers and see work presented in each location, while gaining a sense of the range of manifestations of the Upgrade! model. Participating groups were from: New York, Vancouver, Montreal, Boston, Seoul, Tel Aviv, Munich, Oklahoma City, Istanbul and Chicago. Read On
Upgrade! NY
July 2005
The Eyebeam’s Production Fellowship is offered to emerging artists of exceptional ability.
They split their time between developing their own self-directed projects, and working with senior artists on commission, residency and co-op programs. Read On
Upgrade! NY
March 2005
Demonstrate was timed to coincide with the 40th Anniversary of Berkeley’s Free Speech Movement and with campus political activity in the weeks before the 2004 Presidential Election.
Ken Goldberg discussed his latest project Demonstrate, an installation of state-of-the-art robotic webcamera placed over UC Berkeley’s Sproul Plaza, birthplace of the Free Speech Movement. For six weeks, the camera was made accessible to anyone on the Internet. Online participants shared remote control of the robot camera, allowing them to zoom in to and photograph activity on the Plaza at any time of day or night. Photos, textual captions, and dialogue were archived in a public database. Read On
Upgrade! NY
January 2005
During the studio visit Camille demonstrated three interactive video installations:
Liquid Time (2001), External Measures (2003), and Untitled 5 (2004). In all of these pieces, a large projected image changes in response to human presence, position and movement in the installation space. People’s movements are tracked by an overhead video camera, and the imagery is generated by custom software. Read On
Upgrade! NY
October 2004
Paul talked about his interest in gaming technology and culture in particular, sprites, video, and optics, as well as networked game worlds as closed systems.
He talked about a few older projection systems and more recent video game pieces.
Paul Johnson is a New York based artist whose expirements with consumer electronics in the early 90’s included video projectors made from orange juice boxes, vacuum cleaners, and magnifying glasses. Read On
Upgrade! NY
May 2004
T U R N S is a word filtering, self-generating, fully collaborative database project based on both sharing and collecting one’s turning point story through both online writing and drawing.
The site addresses the significance of one’s personal “turn” as an experience so significant that decisions resulted which changed life’s direction. Seen through relational filters such as relationships, trauma, family, immigration, war — one’s submitted story or lifemap becomes part of the narrative pool and is understood as part of social memory. Such community based systems are built on the premise that meaning in a work of art is dependent on exchange and communication. T U R N S was created by Margot Lovejoy with Hal Eagar, Marek Walczak, and Jon Legere. It was selected to be featured as part of the 2002 Whitney Biennial and has been shown in Taipei at the Museum of Contemporary Art in 2001; as a multiuser installation at ZKM and the Madrid Media Lab in 2003 and the Bilbao, Spain Ciberarts Festival 2004. Read On
Upgrade! NY
April 2004
Brooke Singer, Beatriz da Costa,and Jamie Schulte discussed their ongoing collaboration.
SWIPE began as a performance and installation that focused on data gathered from driver’s licenses—a form of data-mining that businesses are starting to practice in the United States. Bars and convenience stores were the first to utilize license scanners in the name of age and ID verification. These businesses, however, admit they reap huge benefits from this practice beyond catching underage drinkers and smokers and fake IDs. With one swipe—that often occurs without notification or consent by the cardholder—a business acquires data that can be used to build a valuable consumer database free of charge.
Upgrade! NY
February 2004
Marie Sester presented three recent works based on the notions of transparency, visibility, and access. Her work explores ways that societies implement forms.
Marie Sester’s work questions the perspective of the West, and the meta-state of a New World Order. She employs archetypes and referents as starting points. For several years, Marie has been committed to working with already-existing data or phenomena, including airport and large scale x-ray imagery, architectural ground plans, elevations and sections, vehicle plans, city maps, aerial views, and historic, archeological and art documents. Marie has also been creating immersive installations using technologies from both the Hollywood and surveillance industries. Together these propose a connection between individuals and wider forces, or larger scales, or longer time-bases. And thus reconsider what a society or a community is engaged in, and therefore the individuals, in their everyday life. Read On
Upgrade! NY
April 2001
Nino Rodriguez presented a demonstration of Cleaving, a nearly-completed interactive video projection installation.
Cleaving is a portrait of a person in emotional crisis. The project aims to both represent and re-create these emotions — visually, aurally and through processes encoded into the rules that drive the video and audio.
The subject in the audio in Cleaving is Jerry, a wildly charismatic man, who’s unstable emotional responses to personal questions rise and fall in relation to the audience members’ proximity to the projection screens. Jerry’s commentary on matters such as life, sexuality, and spirituality creates a climate of increasing intensity, crossed with the images of a hand banging on a door, rising and falling with Jerry’s emotions and tone. Read On
| « Feb |
|
Apr » |
| M | T | W | T | F | S | S |
|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| 8 | 9 | 10 | 11 | 12 | 13 | 14 |
| 15 | 16 | 17 | 18 | 19 | 20 | 21 |
| 22 | 23 | 24 | 25 | 26 | 27 | 28 |
| 29 | 30 | 31 | ||||
