The Biennale de Paris, a parallel, underground and outlaw world of art

The Biennale de Paris, which seeks to question the foundations of art, moves to the U.S. from September 24 to October 8, 2011, organizing a series of operations, lectures and workshops in some important universities and institutions in the U.S.

The Biennale de Paris was launched in 1959 by Andre Malraux with the purpose of creating a meeting place for those who would define the art of the future. After a hiatus of several years, the Biennale was relaunched in 2000. Since then it has not ceased in its efforts to unravel art from institutions. The Biennale de Paris rejects the use of art objects, which are too alienated by the market. It does not confine itself to a framework that would hinder its present actions or its political, economic and ideological evolution. By acting upon everyday life and its unfolding realities, the biennale seeks to redefine art by using criteria which rejects the idea of the artist as the sole protagonist in his work. Simply stated, the Biennale de Paris refuses to participate in today’s conventional art world. By mixing up genres, exploiting porous frontiers and practicing the redistribution of roles, the Biennale de Paris allows art to appear precisely where it’s not expected.

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La Biennale de Paris, un monde de l’art, parallèle, souterrain et hors-la-loi

La Biennale de Paris, qui cherche à remettre profondément en question les fondements de l’art, se délocalise aux États-Unis et spécialement New York du 24 septembre au 8 octobre 2011 et met en place une série d’opérations, de conférences et de workshops dans quelques unes des universités et institutions importantes des États-Unis.

La Biennale de Paris a été créée en 1959 par André Malraux qui souhaitait en faire un lieu de rencontres où devaient s’expérimenter les nouvelles modalités d’un art du futur. Après quelques années d’interruption, elle a été réactivée en 2000 et depuis cette date, ne cesse de délier l’art de l’institution. La Biennale de Paris n’a jamais recours aux objets d’art qui sont trop aliénés aux lois du marketing. Elle n’obéit à aucun cadre régulateur qui l’entraverait dans ses actions au sein de notre contemporanéité, ses évolutions politiques, économiques et idéologiques. En agissant dans la vie réelle avec les usages qui lui sont rattachés, elle cherche à identifier l’art avec de nouveaux critères qui rejettent l’artiste comme protagoniste exclusif de ses influences. D’une façon générale, elle affirme son refus de participer aux différentes règles régissant le monde convenu de l’art. En pratiquant le mélange des genres, la porosité des frontières et la redistribution des rôles, la Biennale de Paris fait apparaître l’art, là où l’on ne l’attend pas.

Informations
(pressbook, 54 pages, PDF)

(English)

http://www.biennaledeparis.org/bdpus11,en.pdf

(Français)

http://www.biennaledeparis.org/bdpus11,fr.pdf

Contact
Markus Prosper
Secrétaire/Secretary
m.prosper@biennaledeparis.org
0033-(0)1-4534-3004
0033-(0)6-130-555-84

Aleph Null: new online interactive generative visual art by Jim Andrews #digitalart

ALEPH NULL

http://turbulence.org/spotlight/alephnull

by Jim Andrews

Aleph Null is a new work of interactive generative visual art by Jim Andrews. Written in JavaScript. Uses the new HTML 5 canvas tag. Best viewed by the light of a full moon. That’s tonight.

There’s also a slideshow of screenshots ( http://vispo.com/aleph/jim ) to give you a sense of what it can look like in full flight. Aleph Null is color music. No audio.

It takes practice to tease the really good stuff out of it. It’s like an instrument that way. Or a game in which the goal is to experience color music and create visuals you like. It’s like hunting the Snark, beauty or butterflies. Unlike most instruments, Aleph Null will play something whether a person is playing or not. But it benefits immensely by a human player. It knoweth not beauty, is but the instrument of thine own incandesence.

3Cs: Creating, Curating, Consuming – the social life of books – London, 19 September 2011, 4-6pm

Sep 19, 2011
4:00 PM – 6:00 PM

Free Word Centre 60 Farringdon Road
60 Farringdon Road
EC1R 3GA London
United Kingdom

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How do the practical realities of selling books to customers relate to collaborative creative projects between authors publishers? Dr Caroline Hamilton from University of Melbourne is studying the future of bookselling and the key words curation and…
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Cheers,
if:book

Leonardo MISH MASH – Issue 1 of Leonardo Electronic Almanac as a free PDF #digitalart

http://www.leoalmanac.org/index.php/lea/entry/mish_mash1/

After a major re-vamp of the magazine, we are proud to announce the release of our first issue, MISH MASH.

With this re-launch we are working on implementing availability on a wide range of digital platforms. The issues are published online but they will be also rolled out on a series of e-publishing platforms ranging from Print on Demand on Amazon to iTunes.

With this re-launch LEA aspires to set trends in academic and artistic publication and with the collaboration of Goldsmiths, University of London a new app for iPad has been developed that will allow the magazine to be disseminated across multiple devices.

In this constantly changing and evolving publishing industry, LEA is providing the academic community that works at the intersection of art, science and technology with an international e-publication able to act as a publishing and disseminating tool as well as a center for aggregation and project/research development in the field.

Leonardo Electronic Almanac is supported by MIT Press journals and is part of Leonardo/ISAST in collaboration with Sabanci University and Goldsmiths, University of London.

Special thanks go to Robert Zimmer and Janis Jefferies at Goldsmiths, to Mehmet Bac at Sabanci University and Jeffrey Babcock at Leonardo/ISAST. We also have to thank Editorial Manager and Co-Editor Ozden Sahin as well as Art Director Deniz Cem Onduygu.

With warmest regards,

Lanfranco Aceti
Leonardo Electronic Almanac – Editor in Chief

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