As a part of our (Galia Offri & mine) involvement in this year’s Transmediale Festival in Berlin we participated in a panel discussion titled “Lost in The Open”. The focus of the discussion which I moderated was to hash out some of the challenges for Free Culture beyond its epic battles against centralized institutions, record companies, major film studios, copyright regimes…
I am including here the videos for the full panel beginning with introductions by the 5 panelists and continuing with the full discussion and audience Q&A.
“We prepare every year the biggest Free Culture show ever” (Simona Levy)
In 2007 Brooke Singer produced an online data visualization site, Superfund365 (www.superfund365.org), exhibited at Eyebeam in 2008 as part of the Feedback exhibition. The project and web site highlighted a different Superfund site or the worst contaminated sites as designated by the EPA each day for a year. Currently she is working on a photography and book project drawing from that large online archive and her experiences visiting communities across the nation affected by Superfund. She is choosing which sites to photograph with her large format camera for a variety of reasons: the site has a fascinating history, a site’s stakeholders are in contention over its future use, a site’s history is exemplary of how places become contaminated or a site appears anything but toxic. Sometimes an eloquent user contribution to the online archive compels a visit.
Damian Ortega, The Independent. Courtesy Barbican Art Gallery. Photo credit: Eliot Wyman
Every day from 29 August to 27 September, Mexican artist Damián Ortega has worked on a new artwork that responded directly to a news item, a photography, a cartoon or graphics he had found that day in the press. The sculptures and installations are now on show in The Curve, an exhibition space which as its name indicates, is shaped like a long, narrow arc. I can't think of any space more challenging to curate and fill in.
Please join Not An Alternative, Eyebeam Art & Technology Center, and Upgrade! NY, this Thursday, June 10 for the opening of Re:Group: Beyond Models of Consensus, an exhibition which examines models of participation and participation as a model in art and activism.
During the UN Climate Change Conference (COP15) in Copenhagen in December 2008, a collaboration venue for artists and climate activist groups was constructed to invite individuals to play “GOOD COP”. With access to the conference site growing increasingly restricted, GOOD COP aimed to make individual voices heard during the critical week of negotiations. The public was invited to come voice their own statements on the GOOD COP stage.
Surajit Sarkar discussed his work with the A Deep Fried Jam trio and the community art initiative in India the Catapult Arts Caravan in relation to the media consumption in India.
Surajit Sarkar lives in New Delhi, India. He has held positions as varied as photocopier salesman, bank officer, primary school teacher and developer of curriculum for primary school children and teachers alike. Since 1991, he has worked with video, at first in mainstream television writing and directing a highly successful weekly science & tech program on Indian national TV network. He moved to documentary film making, and has worked on subjects ranging from agriculture, education and the uneven costs of ‘development’. A number of these have been recognized nationally and internationally and have won prizes in film festivals in India and abroad.
Josh took us on a whirlwind tour through the history of illegal street markings (Street Art 101), with a focus on the history of the street stencil.
Evan and James talked about how the Graffiti Research Lab was formed. They demo’d the tools they’ve developed and gave out materials to make LED Throwies. Some of Evan’s students presented their projects and/or concepts based on the work of James and Evan. We concluded with a little Throwies experiment/happening.