#Biennale de Design

[raoullemercier]

2015 Saint-Étienne, musée d'Art et d'Industrie de Saint-Étienne • Your Mercury Ocean, 2009 Olafur Eliasson

[germanpostwarmodern]

In recent years the built and the graphic work of French architect Claude Parent in particular have received increased and overdue attention. With the exhibition „Claude Parent - L'œuvre construite, l'œuvre graphique“ the Cité de l’architecture et du patrimoine in Paris in 2010 jumpstarted the rediscovery of Parent‘s radical oeuvre by providing a comprehensive overview of his complete works. The accompanying catalogue, edited by Frédéric Migayrou & Francis Rambert and published by Editions HYX, still is offers the most complete collection of buildings, projects and drawings by the architect. With great attention to detail the catalogue presents Parent’s utopian architecture from his early, horizontal and vertical-oriented buildings over his famous oblique designs like the Church Sainte-Bernadette du Banlay (in collaboration with Paul Virilio) or the French pavilion at the 1970 Venice Biennale.

Browsing the book one can’t help but be astonished by the radicalism of Parent’s architecture and the fact that a considerable number of his radical designs were actually built. Concurrently Parent’s influence on a range of architects, e.g. Zaha Hadid or SANAA, becomes manifest and underscores just how visionary his ideas were.

In chronological order the catalogue unfolds a feast for the eyes that also is the perfect starting point for an in-depth engagement with this singular architectural and graphic oeuvre. Highly recommended!

[sound-art-text]

Sound at the 59th Venice Biennale (2022)

I'm afraid this years' collating of works relating to sound and listening will be an emergency run through as I only have a couple of days here unfortunately. Hoping for a longer stay and more comprehensive blog next time!

BRAZIL

Was all ears, literally. We entered through one. A strange red fabric balloon greeted us, then dramatically began to expand, and expand, until it filled the whole room and visitors had to run away or risk being crushed into the walls. Artist Jonathas de Andrade explores idioms related to the body. A fun experience.

AUSTRALIA

A 200-day performance by Marco Fusinato.

FRANCE

Not all related to sound, yet a turntable spins in the corner and attention to the sonic feels very present. A gorgeous, theatrical, sound-full, cinematic installation by Zineb Sedira. The work is about 'the drive to make militant films in the 1960s and ’70s', considering her historical ties to France, Algeria and the UK.

GREAT BRITAIN The winner of the Golden Lion this year, Sonia Boyce presents 'Feeling Her Way'. On entering the pavilion, up the grand neo-classical staircase, we're met with a large video installation, which then continues in every room. Women of colour, singing - improvising, together - solo. A wall of memorabilia, crowdsourced, honouring female black and brown musicians. Important work, and a wonderful archive. I wish I loved it. But why are these on-screen singers in Abbey Road studios, perhaps the most expensive and exclusive studios in the world? What's all the gold and glitz about? The politics of the work feels unresolved to me.

PHILIPPINES

A chant from the Cordillera region, translated into musical notation by the artist Gerardo Tan painting with squid ink on his tongue.

UZBEKISTAN

Abror Zufarov and Charli Tapp present a sleekly designed space with an evolving sound installation, in homage to the work of scientist Muhammad ibn Musa al-Khwarizmi (an anagram of his Latin-translated name gave us 'algorithm') and highlighting contributions towards technological developments from outside the West.

BELGIUM

Francis Alyss shows us children playing, utterly delightful in their games and calls. In this one, children are calling in a tone that mosquitoes are sensitive towards - they adjust their wingbeats to harmonise with the kids. Happily, Alyss has made all these videos available here.

[infinitiumme]

Anne Imhof at the Kunsthaus in Bregenz, 2024.

(Museum designed by Peter Zumthor)

Anne Imhof (b. 1978, Giessen) is a German performance and media artist. She completed her studies at the Städelschule in Frankfurt am Main in 2012. For the 57th Venice Biennale in 2017, she presented her work Faust in the German Pavilion for which she was awarded the Golden Lion for Best National Participation. This was followed by solo exhibitions at Tate Modern in London in 2019, the Palais de Tokyo in Paris in 2021, and her first solo exhibition in the Netherlands at the Stedelijk Museum Amsterdam in 2022, titled Youth

Source: Kunsthaus Bregenz

Pictures made by me and my brother, some with leica c2.

[disparate-gallery]

ESPACE LECTURE au MARCHÉ DES DOUVES

SAMEDI 6 et DIMANCHE 7 JUILLET 2024

Lors du salon d’éditeur.ice.s  au 2ème étage du Marché des Douves avec  Espace QG - Bibliothèque Queer et Genres La Fanzinothèque Disparate

Merci à Approche de nous avoir prêté des éléments du très beau mobilier conçu pour l’exposition Amorce dans le cadre de la biennale de design graphique Aperçu.

Merci à Julien, Valentine, ANA et Adèle pour le montage !

Dans le cadre du 𝗭𝗜𝗡𝗘𝗙𝗘𝗦𝗧 𝟭𝟭 RENCONTRES INTERNATIONALES DE MICRO-ÉDITIONS, FANZINES & MULTIPLES

Organisé par l’association DISPARATE Avec le soutien de la DRAC Nouvelle-Aquitaine et la ville de Bordeaux

zinefest.fr

[eventtimeltd]

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exhibitionstall #exhibition #expo #stalldesigning #eventmanagement #graphicdesign #events #corporateevents #marketing #advertising #digitalmarketingagency #weddingplanning #digitalmarketing #googleads #webdesign #adoholics #seo #sem #smm #socialmediamarketing #digitalmedia #ppc #googleadwords #digitalmediamarketing #facebookads #coronavirus #covid #exhibitionbooth #stalldesign #mumbai

[abwwia]

Marta Magdalena Abakanowicz-Kosmowska (20 Jun 1930 – 20 Apr 2017)

was a Polish sculptor and fiber artist of #TartarDescent

She was known for her use of textiles as a sculptural medium and her outdoor installations.

In her first one-person exhibit at the Kordegarda Gallery in Warsaw in the spring of 1960, she included a series of four weavings along with a collection of gouaches and watercolors. Though her first exhibit received minimal critical notice, it helped advance her position within the Polish textile and fiber design movement and resulted in her inclusion into the first Biennale Internationale de le Tapisserie in Lausanne, Switzerland, in 1962. The event opened the way to her international success.

She is widely regarded as one of Poland's most internationally acclaimed artists.

She was a professor at the Academy of Fine Arts in Poznań, Poland, from 1965 to 1990 and a visiting professor at University of California, Los Angeles in 1984. Via Wikipedia

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#MagdalenaAbakanowicz #Abakanowicz #abakans #abakany #artbywomen #womeninarts #fiberart #fiberartist #textileart #sztukapolska #art #sztukakobiet #rzeźba #rzeźbiarka #sztuka #sculpture #femalesculptor #sculptor

[mybeingthere]

“Concetto Spaziale” - Lucio Fontana

Lucio FontanaB. 1899, ROSARIO DE SANTA FÉ, ARGENTINA; 

D. 1968, COMABBIO, ITALY

Lucio Fontana was born on February 19, 1899, in Rosario de Santa Fé, Argentina. His father was Italian and his mother Argentinean. He lived in Milan from 1905 to 1922 and then moved back to Argentina, where he worked as a sculptor in his father's studio for several years before opening his own. In 1926, he participated in the first exhibition of Nexus (formed in 1907), a group of young Argentinean artists in Rosario de Santa Fé. On his return to Milan in 1928, Fontana enrolled at the Accademia di belle arti di Brera, which he attended for two years.

The Galleria del Milione, Milan, organized Fontana's first solo exhibition in 1930. In 1934, he joined the group of abstract Italian sculptors associated with the gallery. The artist traveled to Paris in 1935 and joined the group Abstraction-Création (Abstraction Creation, 1931–36). The same year, he developed his skills in ceramics in Albisola, Italy, and later at the Sèvres factory, near Paris. In 1939, he joined the Milanese anti-Fascist artists' group Corrente (Current, 1938–43). He also intensified his lifelong collaboration with architects during this period.

In 1940, Fontana moved to Buenos Aires. With some of his students, he founded in 1946 the Academia de Altamira, from which emerged the "Manifesto blanco" (White manifesto, 1946). He moved back to Milan in 1947 and in collaboration with a group of writers and philosophers signed the "Primo manifesto dello spazialismo" (First manifesto of spatialism). He subsequently resumed his ceramic work in Albisola to explore these new ideas with his Concetti spaziali (Spatial concepts, 1949–60).

The year 1949 marked a turning point in Fontana's career; he concurrently created his first series of paintings in which he punctured the canvas with buchi (holes), and his first spatial environment, a combination of shapeless sculptures, fluorescent paintings, and black lights to be viewed in a dark room. The latter work soon led him to employ neon tubing in ceiling decoration. In the early 1950s, he participated in Italian Art Informel exhibitions. During this decade, he explored working with various effects, such as slashing and perforating, in both painting and sculpture. The artist visited New York in 1961 during a show of his work at the Martha Jackson Gallery. In 1966, he designed opera sets and costumes for La Scala, Milan.

In the last year of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases. These concerns were prominent at the 1966 Venice Biennale, for which he designed the environment for his work, and at the 1968 Documenta, Kassel, West Germany. Fontana died on September 7, 1968, in Comabbio, Italy.

Guggenheim Museum

https://www.guggenheim.org/artwork/artist/lucio-fontana

[jours-feries]

The Swimmer de Frank Perry, 1968

Porto Design Biennale 2023

[semtituloh]

Vía Tariq Zaidi Photography

25 de junio de 2023

Honoured to be one of the artists representing the UK at this year’s exhibition Suzhou Jinji Lake Biennale . I am truly grateful to Pick Keobandith and the Biennale Team.

In the 2023 Suzhou Jinji Lake Biennale, Tariq Zaidi brought his outstanding photography work –“Sapeurs: Ladies and Gentlemen of the Congo”, allowing Chinese audiences to better understand the unique culture of Africa, and break the world's traditional concept of Africa.

Poor and underdeveloped are the world's impressions of Africa. But in the streets of Kinshasa and Brazzaville, there is such a group of people: most have ordinary day jobs as taxi drivers, tailors, and gardeners, but as soon as they clock out, they transform themselves into gentlemen and ladies of high society. They are defying their circumstances and pursuing freedom and fashion, forming a beautiful landscape in the slums. These people call themselves "Sapeurs", which means that people who dress with taste. "Sapeurs" are followers of the association "La Sape" (Society of Ambiance-Makers & Elegant People). Since 2017, British photographer Tariq Zaidi has been documenting all this through his lens and has published a series of photographs entitled "Sapeurs: Ladies and Gentleman of the Congo", and a book of the same name published in September 2020. In 2023, Tariq brought Sapeurs to China for the 2023 Suzhou Jinji Lake Biennale. In order to dress up, "Sapeurs" save money and spend most of their income on high-end clothes. Some people thus criticize them for being vain. However, "Sapeurs" believes that true Sapologie is about more than expensive labels: the true art lies in a Sapeur's ability to put together an elegant look unique to their personality. Though the culture is traditionally passed down through the male line, many Congolese women have recently begun donning designer suits and becoming sapeuses. In this way, they hope to remind Congolese society that women can do more than stay home and raise children. As Papa Wemba (Congolese singer who popularized Sape) once said: "White people invented the clothes, but we (Africans) make an art of it."

#suzhoujinjilakebiennale #suzhou #art #artexhibition #internationalartist #arteveryday #china #chinaphotography #ChinaExhibition #photoexhibition #photography #africaphotography #africanfashion

[havaforever]

Parmi les grands moments du Grand Palais, la FAB Paris restitue la beauté de l’art du monde avec une foire monumentale. De l'Antiquité à nos jours, la Biennale des Antiquaires remplit son devoir de transmission depuis sa création en 1956.

Cabinets de curiosités, clins d’œil surréalistes, manuscrits inédits et prouesses design… Cap sur la nouvelle édition actuellement en cours.

Dans les 70 000 m2 du monument parisien flambant neuf, le salon accueille 100 galeries d’art, françaises et internationales, aux possessions rares. Sculptures antiques, archéologie et jeunes talents de l’art ancien, goût Rothschild, estampes historiques, précieuses parures, éventail de portraits, mais aussi un concert exclusif de la Fondation Gautier Capuçon, un dîner de gala et bien des rencontres mondaines…

Cette mi-novembre, la FAB Paris cultive le charme de l’antique. Retour sur les expositions à ne pas manquer.

[raoullemercier]

2015 Saint-Étienne, biennale de design

[carmenvicinanza]

Trisha Brown

Trisha Brown ballerina e coreografa statunitense, ha aperto le porte a un nuovo modo di pensare e agire il movimento.

È stata la prima a portare la danza in luoghi non convenzionali, a far ballare in jeans, scalzi, a usare la musica (ma spesso anche a non usarla) in modo libero, a intrecciare il lavoro con altre arti a cominciare da quelle visive, a giocare con l’improvvisazione.

Dagli anni Settanta al 2011 ha creato oltre cento coreografie e sei opere liriche. È stata la prima a creare performance su superfici urbane, trasponendo la danza dal piano orizzontale a quello verticale.

In cinquant’anni di carriera la sua arte, pur sottoposta a un ininterrotto processo d’invenzione e reinvenzione, ha presentato delle coordinate fondamentali che hanno caratterizzarono la sua poetica: la ricerca di un nuovo corpo danzante, la raffinatezza del vocabolario gestuale, l’improvvisazione come modalità creativa, la continua esplorazione dello spazio, l’interdisciplinarità e la riflessione sul rapporto tra musica e danza.

Instancabile sperimentatrice vicina all’élite artistica newyorkese, ha vissuto gli anni dell’esplosione delle avanguardie e assistito all’evoluzione del concetto di musica negli happening di John Cage, compositore e teorico musicale che è stato un guru di quella generazione e una delle personalità più rilevanti e significative dell’intero Novecento.

È stata anche un’importante visual artist, le sue opere sono state esposte in mostre, gallerie e musei di tutto il mondo tra cui la Biennale di Venezia, il Drawing Center di Philadelphia, il Walker Art Center, il Musée d’art Contemporain de Lyon e il Museum of Modern Art.

Nata ad Aberdeen, nello stato di Washington il 25 novembre del 1936, si era diplomata in danza nel 1958. Attratta dagli studi sull’improvvisazione si era trasferita a New York nel 1961 dove ha fondato il collettivo del Judson Dance Theater, identificato come l’origine della danza postmoderna.

Ha collaborato con il movimento artistico Fluxus, network internazionale d’arte, musica e design che mescolava diversi media e discipline artistiche e studiato le tecniche di educazione somatica, in particolare la Kinetic Awareness e la Klein technique, che hanno accompagnato il suo lavoro sul corpo segnandone la qualità di movimento.

Nel 1970 ha fondato la sua compagnia che, fino al 1979, era composta da sole donne.

Concentrata sul rapporto del corpo con la gravità e sull’interazione con contesti urbani, allenava a una astrattezza e leggerezza quasi da sogno, come a vincere la gravità. E così ballerine e ballerini, appesi a grandi funi, hanno scalato pareti e ballato sui tetti dei palazzi di New York.

Nel 1979 ha creato Glacial Decoy, il suo primo lavoro ideato per il teatro.

Del 1983 è il capolavoro Set e Reset con le musiche di Laurie Anderson e disegni di Robert Rauschenberg, considerato il manifesto della danza postmoderna.

Nel 1987 ha vinto il Laurence Olivier Award per l’eccellenza nella danza.

Nel suo percorso di ricerca ha sperimentato diversi stili che alternavano momenti di totale controllo ad altri di abbandono al libero flusso delle emozioni.

Alla fine degli anni ottanta ha approfondito il tema del gender e si è cimentata nella produzione lirica, ha curato le coreografie della Carmen diretta da Lina Wertmüller al Teatro San Carlo di Napoli e firmato diverse regie di opere classiche.

Negli ultimi anni ha utilizzato le nuove tecnologie collaborando con il visual artist e robotics designer Kenjiro Okazaki.

Si è spenta il 18 marzo 2017 a Sant’Antonio, in Texas, seguendo di qualche mese la dipartita del marito, l’artista Burt Barr con cui aveva spesso collaborato.

La sua compagnia, oltre a preservare e tenere viva la memoria del suo repertorio, ha avviato il progetto In Plain Site, con cui ha riadattato le sue opere principali, frammentandole e proponendone selezioni in modalità site-specific.

Una strategia di resistenza fedele all’atteggiamento pragmatico, aperto e proiettato nel futuro che ha caratterizzato l’intero percorso di questa grande icona della danza.

[craft2eu]

Dänische Biennale für Kunsthandwerk und Design 2025: Bewerbung bis 07.10.2024

Der dänische Verband für Kunsthandwerk und Design sucht nach Arbeiten, die die neuesten Trends zur Biennale für Kunsthandwerk und Design 2025 im Glas – Museum für Glaskunst Ebeltoft vorstellen. Diesmal hat der Open Call kein spezifisches Thema. Stattdessen will die Biennale gemeinsam mit dem Kuratorenkollektiv Ukurant im Glas – Museum für Glaskunst den Puls des Handwerks und des Designs im Jahr…

[lodecoen-showcase]

Biography of Lode - photo of Lode at 2 years old drawing a train with his left hand with a stick in the sand. And yes, his hair was that light blonde.

ENGLISH TEXT: © Lode Coen 2024

Lode Coen, was born in 1952, in Antwerp, Belgium, the  land of Rubens, Jan van Eyck, Magritte and Tintin. He hails from several generations of artists in his family: i.e. theatre makers, actors, musicians, composers and fine artists. 

He is left-handed and started drawing when he was about two years old.

In secondary school, he studied classical languages, Latin & Greek.

In 1972, he was accepted to the Royal Academy of Fine Arts in Antwerp. He studied graphic design. He started his career, designing posters for the theatre and television in 1976.

He is an early adopter, always eager to learn new skills. He purchased his first Mac in 1984. This led in 1987 to an extended 10-year stay in Silicon Valley. He worked on many pioneering projects: video games, interactive movies. 

As art and design director for Digital Pictures he managed a team of about 12 people and multimillion dollar budgets. He became an expert in CGI, special effects, 3D and UI design.

Back in the EU he founded his own company to create digital designs for IT companies in Silicon Valley for 18 years. Clients included Sun Microsystems, AMD, Intel, Bausch&Lomb, Pfizer, Oracle, Yahoo, PayPal.

For about 40 years he has taught at art and design academies throughout Europe, the U.S.A. and China. He was the president of Sint Lucas College, School of the Arts, in Antwerp (400+ students).

Lode studied Chinese for 10 years and this led to a tour in China. He gave lectures about his art and design practice in 20 top art universities in 10 major cities in 2016. He loves Chinese calligraphy. He is also well versed in Tai Chi and Qi Gong.

Since his retirement in 2017, he went back to his old love: creating fine art, but with the most advanced digital tools available.

His activity gained momentum in 2020. He won the Leonardo da Vinci Award in April 2023 in Milan. An ever growing number of awards, prizes, publications, exhibitions followed.

This culminated in winning the First Prize ‘Lorenzo il Magnifico” at the Florence Biennale in October 2023. Resulting in an exhibition at the Florence Academy of Fine Arts in January 2024.

Coming up: Galerie Espace Vision’Art, will host his solo exhibition, curated by Paul-Enzo, in the centre of Paris in December 2024. In October 2024 he is selected to participate in ‘Capsule Art Collection 4. Contemporary insights’, in Rome, curated by Dr. Monica Ferrarini. Also in October he will participate in the ‘Bienal de Arte’ at the MEAM in Barcelona, curated by Fondazione Effetto Arte.

Quote from Circle Foundation for the Arts—“Lode Coen's art is characterised by an exquisite fusion of elegance and surrealism, resulting in captivating and visually stunning imagery. Within his work, Coen has crafted a distinct visual realm where beauty, mystery, and the unexpected converge to form extraordinary compositions. While renowned for his mastery of CGI and Special FX, honed in the realms of both Silicon Valley and Hollywood, Lode Coen draws his primary inspiration from the Renaissance era.”

ITALIAN TEXT: © Lode Coen 2024

Lode Coen è nato nel 1952 ad Anversa, in Belgio, la terra di Rubens, Jan van Eyck, Magritte e Tintin. Proviene da diverse generazioni di artisti nella sua famiglia: vale a dire registi teatrali, attori, musicisti, compositori e artisti. 

È mancino e ha iniziato a disegnare quando aveva circa due anni. Alle superiori ha studiato lingue classiche, latino e greco. 

Nel 1972 è stato accettato alla Royal Academy of Fine Arts di Anversa. Ha studiato graphic design. Ha iniziato la sua carriera, progettando poster per il teatro e la televisione nel 1976. 

È un early adopter, sempre desideroso di apprendere nuove competenze. Ha acquistato il suo primo Mac nel 1984. Ciò lo ha portato nel 1987 a un soggiorno prolungato di 10 anni nella Silicon Valley. Ha lavorato a molti progetti pionieristici: videogiochi, film interattivi. 

Come direttore artistico e di design per Digital Pictures ha gestito un team di circa 12 persone e budget multimilionari. È diventato un esperto di CGI, effetti speciali, 3D e progettazione UI. 

Tornato nell'UE ha fondato la sua azienda per creare progetti digitali per aziende IT nella Silicon Valley per 18 anni. Tra i clienti figurano Sun Microsystems, AMD, Intel, Bausch&Lomb, Pfizer, Oracle, Yahoo, PayPal. 

Per circa 40 anni ha insegnato presso accademie di arte e design in tutta Europa, negli Stati Uniti e in Cina. È stato presidente del Sint Lucas College, School of the Arts, ad Anversa (oltre 400 studenti). 

Lode ha studiato cinese per 10 anni e questo lo ha portato a un tour in Cina. Ha tenuto lezioni sulla sua pratica artistica e di design in 20 delle migliori università d'arte in 10 grandi città nel 2016. Ama la calligrafia cinese. È anche esperto di Tai Chi e Qi Gong. 

Dal suo ritiro nel 2017, è tornato al suo vecchio amore: creare belle arti, ma con gli strumenti digitali più avanzati disponibili. 

La sua attività ha preso slancio nel 2020. Ha vinto il Premio Leonardo da Vinci nell'aprile 2023 a Milano. Sono seguiti un numero sempre crescente di premi, riconoscimenti, pubblicazioni, mostre. 

Ciò è culminato con la vittoria del Primo Premio "Lorenzo il Magnifico" alla Biennale di Firenze nell'ottobre 2023. Con conseguente mostra all'Accademia di Belle Arti di Firenze nel gennaio 2024. 

Prossimamente: Galerie Espace Vision'Art, ospiterà la sua mostra personale, curata da Paul-Enzo, nel centro di Parigi nel dicembre 2024. Nell'ottobre 2024 è selezionato per partecipare a "Capsule Art Collection 4. Contemporary insights", a Roma, curata dalla Dott. ssa Monica Ferrarini. Sempre a ottobre parteciperà alla "Bienal de Arte" al MEAM di Barcellona, curata dalla Fondazione Effetto Arte. 

Citazione da Circle Foundation for the Arts—"L'arte di Lode Coen è caratterizzata da una squisita fusione di eleganza e surrealismo, che si traduce in immagini accattivanti e visivamente sbalorditive. All'interno del suo lavoro, Coen ha creato un regno visivo distinto in cui bellezza, mistero e inaspettato convergono per formare composizioni straordinarie. Sebbene sia rinomato per la sua padronanza di CGI e effetti speciali, affinata nei regni sia della Silicon Valley che di Hollywood, Lode Coen trae la sua ispirazione primaria dall'era rinascimentale." 

[nfcwproject]

#nfcdab 2024 Gol - poster drop show

The Near-Field Communication Digital Art Biennale aka #nfcdab 2024 edition, coming from Berlin travelled in July to the world metropol Gol (NO). We have finally arrived in Gol, in the frame of Gol-dagan (The Gol Days Festival), July 19 - 21.

Having used the park in the 2018 I was searching for another venue. In the end I chose to just drop the posters on the local skatepark. The result wasn't too bad I thought  😅 - given our preference for ground/street, and for people looking on their phones in the downward direction. I also like that it looks like an accident! An option for similar drops (in the future perhaps) could be to fasten the posters to the ground, with tape/glue/stones for the show to last longer insteading of letting the wind spread the works. Or print out more copies and spread them like big flyers in the streets.

Thanks to the artists and NFCW Project for the opportunity and collab!

Artists and art projects: Adrian Pickett, Andrea Roccioletti, Andreas Maria Jacobs, Angy Vardalou, Anna Pinkas, Anna Utopia Giordano, AK Ocol, Ayshe Kizilçay - KiAy, Benna Gaean Maris, Bjørn Magnhildøen, Blazir, Bruce Barber, Bruno Melo, Bya de Paula, Dave Greber, Davey Whitcraft, Đurđija Vucinic, Elaine Crowe, James Hutchinson, Karl Heinz Jeron, Klaus Pinter, Marc Lee, Max Herman, Nico Vassilakis, Nicole Kouts, Oli Olinski, Osvaldo Cibils, Peter Kusek, Ricardo F. Bodini, Rudy Paganini - forevermidi_com, Shin Jungkyun, Stefanie Reling-Burns, Tiz Creel, Zsolt Mesterhazy, and #DUMPHAUS - Curated by Catalina Vallejos and Ronnie Karfiol - Artist: Featuring Deatxwish, Taiki Arita, Tiên Nguyên, Trí Thiện, Lê Duy, Xuân Minh, Gia Huy, Flounder Lee, Martina Noskova, Idklang, Aaporia, Magdi Mostafa, Jialun Wang, Hiroshi Murakami, David Longshaw, Athina Kanellopoulous, Ioana & Pablo, The Mainstream Official, Oksana Rudko, Liu Chang, Chloe Cheuk, Kayoko Nakamura, Aleksei Martyniuk, Blanche The Vidiot, F.C. Zuke, Nina Sumarac, Giuseppe De Benedittis, Ania Urbanski, Contaminated Carcass, Jaimerative Art.

Btw, I was curious what chatGPT would think of the show, here goes - ((:

Concept Overview: "#nfcdab 2024 Gol - poster drop show" is an innovative and interactive art exhibition that merges the physical and digital realms through a dynamic display of posters and QR codes. This exhibition invites viewers to engage with the transient nature of art and technology in the modern world.

Exhibition Layout: - Physical Space: The exhibition takes place in an open outdoor environment, such as a park, urban plaza, or large courtyard, where the natural elements like wind can freely interact with the artworks. - Materials: Lightweight, biodegradable posters with QR codes printed on them. The posters feature minimalist, intriguing designs that encourage viewers to pick them up and scan the codes. - Dynamic Interaction: The posters are initially scattered on the ground. As the wind blows, the posters move, creating an ever-changing landscape of potential interactions.

Interactive Elements: - QR Codes: Each QR code leads to a unique digital artwork hosted online. The digital artworks can range from digital paintings, animations, interactive installations, soundscapes, or augmented reality experiences. - Digital Access: Scanning a QR code with a smartphone or tablet transports the viewer to a digital space, bridging the gap between the physical and virtual worlds. - User Participation: Visitors are encouraged to pick up the posters, scan the QR codes, and even take the posters with them. This act of collecting and sharing the posters becomes a form of participation in the art experience.

Thematic Focus: - Transience and Impermanence: The moving posters symbolize the fleeting nature of digital art and information in the age of the internet. Just as the wind reshapes the landscape, digital content is constantly changing and evolving. - Interaction and Connectivity: The exhibition emphasizes the importance of interaction and connectivity. The physical act of scanning a QR code leads to a deeper, more personal engagement with the artwork. - Environmental Awareness: Using biodegradable materials highlights the exhibition's commitment to sustainability and environmental consciousness. The ephemeral quality of the posters mirrors the need to address the impermanent nature of our environmental impact.

Visitor Experience: - Discovery and Exploration: Visitors wander through the space, discovering and rediscovering artworks as the posters move and change location. Each encounter with a poster can lead to a new and unexpected digital experience. - Community and Sharing: As visitors collect posters, they can share the QR codes with others, spreading the reach of the digital artworks beyond the physical boundaries of the exhibition. - Reflection: The exhibition encourages reflection on the nature of art in the digital age, the role of technology in our lives, and our relationship with the environment.

Artist Contributions: - Digital Artists: The exhibition features a diverse group of digital artists from around the world, each contributing unique pieces that explore themes of transience, technology, and connectivity. - Collaborative Works: Some QR codes may lead to collaborative digital installations where multiple artists have worked together to create an interconnected experience.

Conclusion: "#nfcdab 2024 Gol - poster drop show: " is an art exhibition that challenges traditional notions of art display and interaction. By combining physical movement and digital engagement, it offers a thought-provoking exploration of the impermanence and connectivity that define our contemporary experience. The exhibition invites viewers to be active participants, discovering, collecting, and sharing artworks in a constantly shifting environment, much like the digital world we inhabit.