| El Lissitzky began a body of work in the
1930s titled " Prouns" (an acronym for "Project
for the Affirmation of the New" in Russian). These
non-objective compositions drew from Malevich's Suprematist
concepts that painting could spiritually transcend and blur
the distinctions between real and abstract zones. I was
curious to see if I could devise a schema where net art
could follow Malevich's proposal and El Lissitsky's subsequent
responses to this proclamation. Could abstract and real
spaces be blended together so that their distinction in
space and time dissipate? Could net art become the crux
between virtual and tangible spaces where the function of
the architecture (the computer) is complementary in concept
to that of the picture frame (as in painting) ?
Sylvia Grace Borda is a Vancouver and UK
based artist, and holds the positions of Associate Researcher
in Digital Visual Arts at Emily Carr Institute, MA Lecturer
in Photography, Film and Visual Arts at Queen's University
Belfast and guest Lecturer in Media Arts at Krems University,
Austria. Her interests cover new media, digital curation
and photo-documentation, all of which share a focus on reinterpreting
cultural symbols and creating compositions from historical
sources. Sylvia's exhibition history spans over 8 years
in Canada and abroad with solo and group shows of both her
media and photo work. Recent artistic endeavours include
the inauguration of the Virtual Museums of Canada net art
portal with her project "Every
Bus Stop in Surrey, BC" and the completion of new
media portal of Scotland's first 'new town' of East
Kilbride . Future projects include the development of
a new media installation for 'Invisible Dynamics' at the
Exploratorium: the museum of science, art and human perception
in San Francisco and a media restaging of Muybridge's Animal
Locomotion for the Naughton Gallery in Belfast.
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| This work's aim is to present a performative
photographic research trhough a Baroque 'machine'. The structure
itself is shaped by the idea of the labyrinth, a typical
feature of the Baroque, as much as the folds that reoccur
in the images, and the scale differences between extremely
small tumbnails and blown up details. The imagerie evokes
as much old paintings as erotic postcards. In front of the
ambiguity of the images, between feelings of vague identification
of the iconographic precedents, and simple curiosity, the
user is left to himself, to the choice of how to approach
the website, and of how to interpret its frustrating responses.
The work could be looking at the way memory and desire shape
our perception of our bodies, using Baroque theatricality
to counteract a servitude to the spectacle of capitalistic
consumerism of image and bodies.
Assunta Ruocco comes from Sorrento, a small
town near Naples, in the South of Italy. After studying
Art History at the University of Naples for three years,
in 2005 she graduated in Fine Art in Belgium, at the ERG,
Ecole de Recherche Graphique of Bruxelles, and in 2007 was
awarded an MA in Contemporary Visual Arts at University
College Falmouth in Cornwall, UK. For the last six years
she has been using and interpreting a broad range of media,
from painting and drawing to video and photography, in a
collaborative, performative work with her family, her brother
and sister and closest friends. She works with them on the
boundaries of reality and fiction, on the way personal closeness
and trust modifies our relationship to image, and on the
influence of iconographic and cinematic models in the way
we experience our bodies and we build our relationship to
history. |
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| The Sonic Map of Battersea Park is a
Web based piece of audio art, created in search for new
and innovative ways of using audio on the Web. It integrates
the technology of Flash and a notion of soundscape navigable
in a Web browser. It aims to transport an Internet user
to the London park to experience its complexity, cosmopolitanism,
vibrancy and sense of enjoyment, using sound clips and minimal
graphics. It also challenges the user to explore new ways
of navigating a web space, by using a sense of hearing instead
of vision.
Gaya Gajewska is a post-graduate student
of MA course in New Media at London South Bank University.
She is interested in pushing the boundaries of Internet
user's experience by playing with interface, users' browsing
habits and sound using Flash as a tool. She works as a freelance
web designer as bygaya.com.
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| "Thirteen Ways of Looking at a Blackbird"
is a famous modernist poem by the American poet Wallace
Stevens. It consists of thirteen short stanzas, each of
which depicts a blackbird (or blackbirds) from a different
point of view. My own version consists of thirteen very
short Flash animations, each based on a stanza from the
poem and containing the full text of that stanza. I have
tried to remain true to the spirit of Stevens' original,
whilst at the same time avoiding the temptation to offer
literal-minded illustrations. The end result is very much
my own personal interpretation of the poem, but I think
it brings out the playfulness of the text and some of Williams'
characteristic themes – perception, fragmentation,
mortality, the relationship between internal and external
worlds, and the relationship between art and raw experience."
"I have been self-publishing online
since 2000. My personal website is at http://edwardpicot.com
, and I also run a directory-and-review of electronic literature
called The
Hyperliterature Exchange. I have published articles
about hyperliterature in The
P N Review , trAce
and Slope
. On the creative side, I started by writing nonlinear fiction,
and this is still one of my favourite forms (for example
An
Unimportant Story). I have gradually been drawn into
other areas such as Flash animation, however, often in an
attempt to produce work which will amuse my young daughter
– such as Chicks
and Frog-o-Mighty
. What I produce next is always very dependent on what ideas
happen to strike me, with the result that there's a lot
of variety in my output."
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| Aggregating - on a daily basis - the front
pages of all newspapers from around the world into one place.
Martin John Callanan is a European researcher,
and artist, exploring notions of citizenship within the
globally connected world. Concerns include information,
data, and knowledge. Currently Teaching Fellow in Fine Art
Media at the Slade School of Fine Art, UCL.
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HZ NET GALLERY is curated by SACHIKO HAYASHI
For submissions and proposals,
please contact
HZ
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