빛 BITT 2010 : Festival for the arts
第1回 BITT國際展 2010_0609 ▶︎ 2010_0630
- 마리안 자질라 Marian Zazeela_Abstract #1 from Quadrilateral Phase Angle Traversalsn_ 단채널 비디오_06:30:00_2003
● 위 이미지를 클릭하면 빛 BITT 2010 : Festival for the arts 홈페이지로 갑니다.
참여작가 가토 히데키 Kato Hideki_게리 헤밍웨이 Gerry Hemingway_게릴라 걸즈 Guerrilla Girls 김성은 Sungeun Kim_다니엘라 리버타드 Daniela Libertad_라 몬 영 La Monte Young 로니 베스 Ronnie Bass_로베르토 구에라 Roberto Guerra_마리안 자질라 Marian Zazeela 베스 와샤프스키 Beth Warshafsky_신진식 Jin Sik Shin_어설라 셔러 Ursula Scherrer 에리카 벡맨 Ericka Beckman_이지 Ji Lee_존 보나페드 John Bonafede 죠세프 발레 Joseph Valle_최정희_Jung Hee Choi_캐서린 리버로프스카야 Katherine Liberovskaya 케시 브루 Kathy Brew_켄 제이콥 Ken Jacob_클라리나 베졸라 Clarina Bezzola 클로디아 조스코윅츠 Claudia Joskowicz_프리얀카 다스굽타 Priyanka Dasgupta_필 니블록 Phill Niblock
관람시간 / 01:00pm~10:00pm
갤러리 아뜨랑_GALLERY ARTRANG 서울 서초구 양재동 278-8번지 링스빌딩 Tel. +82.2.578.8458
국내에서 만나는 뉴욕 미디어 아트 씬 ● 미니멀 아트의 아버지 라 몬 영, 라이트 아티스트 마리안 자질라, 미국 실험영화의 대가 켄 제이콥스, 살아있는 페미니스트 아트 컬렉티브 게릴라 걸즈 등 국내에 한 번도 소개되지 않은 60년대 아이코닉 작가에서 신세대 컨템퍼러리에 이르는 아티스트, 필름메이커, 음악가, 페미니스트 무브먼트, 퍼포먼스 등 다양한 미디어 장르에서 활동하는 뉴욕의 대표적인 미디어아티스트 25인의 영상작품을 한 자리에서 만난다. ● 건국대학교 충주캠퍼스가 개교 30주년을 맞아 주최하는『 BITT Festival for the Arts 2010』은 뉴욕에서 활약 중인 미디어 아티스트 최정희씨를 큐레이터로 초빙, Syn-Aesthetic을 주제로 펼쳐진다. ■ 신진식
- 게릴라 걸즈 Guerrilla Girls_Guerrilla Girls' Projects_파워 포인트_2009
라 몬 영과 마리안 자질라 ● 플럭서스의 원년 멤버이며 미니멀 예술의 창시자 라 몬 영의 음악「Drift Study 4:37:40-5:09:50-4:37:40 PM 5 VIII 68 NYC x 13, 1968」과 라이트 아트의 개척자 마리안 자질라의「Abstract #1 from Quadrilateral Phase Angle Traversals (2003)「」영상이 장장 6시간 30분 동안 상영된다. 20세기의 가장 중요한 음악가인 라 몬 영은 칼하인츠 스톡하우젠, 벨벳 언더그라운드, 브라이언 이노, 테리 라일리, 앤디 워홀, 존 케이지 등 대가들도 그들의 작품이 라 몬 영의 영향을 받았음을 시사했듯이 20세기 클래식, 팝, 블루스, 아방가르드 음악뿐만 아니라 컨셉츄얼 아트, 퍼포먼스 아트, 미디어 아트 등 현대예술 전반에 중요한 영향을 끼쳤다. 댄 그램, 로버트 어윈 등과 함께 최초로 빛을 예술의 소재로 사용한 라이트 아티스트인 마리안 자질라는 60년대에 레전더리 필름메이커 젝 스미스와 작업을 한 바 있다. 또한 자질라의 드로잉은 벨벳 언더그라운드의 원년 드러머이자 시인인 앵거스 멕리스에게 가장 큰 영감을 주기도 했다.
- 켄 제이콥스 Ken Jacobs_SPIRAL NEBULA_단채널 비디오_00:46:00_2005
켄 제이콥스, 게릴라 걸즈, 캐티 브루와 로베르토 게라 ● 콥스의「Spiral Nebula」는 빛으로 인해 발작을 일으킬 수도 있다는 충격적인 경고와 함께 46분간에 걸쳐 그 강렬한 빛을 발산한다. 프랑스와 미국의 영화전문지「카이에 뒤 시네마」와「필름코멘트」가 2000년대에 발표된 전 세계 영화들 중 최고의 영화중 하나로 선정하기도 한『소멸하는 불빛(2004)』과『범죄 현장으로의 귀환(2008)』은 국내에도 잘 알려진 본격적인 실험영화이다. ● 익명의 패미니스트 예술그룹인 게릴라 걸즈는 1985년 창립된 이후 포스터, 빌보드, 시위 등 다양한 창의적 방법을 이용한 행동주의적 비평을 통하여 사회와 예술계에 존재하는 성적, 인종적 차별과 불균형에 대한 대중의식을 변화시키는데 크게 공헌하였다. 지난 25년 동안 베니스 비엔날레, 테이트 뮤지엄, 뉴욕현대미술관 등을 포함한 100여개 이상의 대학과 미술관에서 그들의 작품이 소개되었다. ● 캐시 브루와 로베르토 게라의 다큐멘터리「ID/Entity: Portraits in the 21st Century」는 테크놀로지의 진보와 현대 예술 표현 방법의 변화를 주제로 하여 참여 예술가 35인의 인터뷰와 작업 과정, 배경 등으로 구성한 작품이다.
- 에리카 벡맨 Ericka Beckman_Switch Center_단채널 비디오_00:10:12_2002
BITT Festival for the Arts ● 필름과 비디오, 뉴미디어는 표현의 언어로 뿐만 아니라 표현의 다양한 배급 방법으로도 사용되고 있다. ● 제 1회 빛 페스티발은 SYN-AESTHETIC이라는 주제 하에 현대미술의 필드 안에서 산발적으로 공존하는 장르적, 미디어적 다양성을 독립적, 개인적 표현이 아니라 그들이 서로 교호하는 'Relation'이라는 언어의 토대를 바탕으로 재구성 한다. ● 이 전시는 장르가 서로 다른 표현매체가 상호 수용하고 반응하여 장르간의 경계를 허물어 예술적 공감각을 형성하는 현대미디어 작품의 특성인 'cross relation'을 경험하기 위함이다. ■ 최정희
- 최정희 Jung Hee Choi_단채널 비디오_00:12:00_2008
Introduction ● The wide use and distribution of media - old and new, analog and digital - has changed the way we communicate and interact with each other. The contemporary vocabulary of media is ever evolving and has inspired new forms of artistic expression. ● For the inaugural year of the BITT Festival for the Arts 2010, the curatorial selection was made to contextualize the various contemporary media that inspire, reconstruct, transform and conserve the formerly exclusive artistic domains of music, literature, criticism, performance, and visual art. The theme of the BITT Festival 2010 Syn-Aesthetic offers a perspective on media art as a reciprocal relationship between genres and media, each being receptive and responsive to the other and toward the exploration and appropriation of diverse expressions and experiences. ● From the period of the early sixties on there were strong tendencies that broke down distinctions between genres. Artists were seeking synergy between genres and media, and directed their creative energy toward new aesthetics and diverse expressions. This open-ended and experiential arena empowered artists to approach and embrace other minds in order to understand and manifest their ontological contemplations. ● We are honored to present the Korean avant-premiere of the work of composer La Monte Young and light artist Marian Zazeela. Over nearly fifty years of collaboration between Young and Zazeela their work has evolved a new form of revelation for each presentation and each participant. The elements of their work, Young's Drift Study 4:37:40-5:09:50-4:37:40 PM 5 VIII 68 NYC x 13 Double Speed Version Original & Retrograde x 13 from Tape realization for SMS and Zazeela's Abstract #1 from Quadrilateral Phase Angle Traversals, were created with an interval of 35 years between them (1968 and 2003 respectively). Even though these two pieces were not created with the specific intention to be played together, in this 6-hour and 30-minute presentation of continuous sound and light, they resonate perfectly in a unison that evokes universal principles in the present tense. The complementary characteristics represented through the manifestation of sound and light create a subtle interaction and each channel of perception brings us to different conclusions depending on which channel we traverse. ● Recognized as the originator of musical minimalism, La Monte Young is one of the most important composers in his time and for the generations after him. Young's influence is ubiquitously pervasive not only in 20th century music including classical, pop, rock, blues, avant-garde and electronic but also in concept art, performance art, conceptual art, and media art. Young has pioneered the concept of extended time durations in contemporary music for over 50 years. He contributed extensively to the study of just intonation and to the development of rational number based tuning systems that are used in his periodic composite sound waveform environments, as well as in many of his major performance works. Presentations of Young's work in the U.S. and Europe, as well as his theoretical writings, gradually influenced a group of composers to create a static, periodic music which became known as Minimalism. In 1985 the Los Angeles Herald Examiner wrote, "for the past quarter of a century he has been the most influential composer in America. Maybe in the world." In Minimalism: Origins, 1993, Edward Strickland added, "Young is now widely recognized as the originator of the most influential classical music style of the final third of the twentieth century." All in all, Young has influenced influences: Terry Riley, Karlheinz Stockhausen, Fluxus, The Velvet Underground, Andy Warhol and John Cage to name a few. ● Marian Zazeela is one of the first contemporary artists to use light as a medium of expression and perhaps the first to compose recurring motivic and thematic statements and permutations with light over time as in music. Over more than five decades Zazeela has exhibited a unique iconographic vision in media encompassing painting, calligraphic drawing, graphics, film, light performance, sculpture and environment. Expanding the traditional concepts of painting and sculpture while incorporating elements of both disciplines, she created an original visual language in the medium of light by combining colored light mixtures with sculptural forms to generate seemingly three-dimensional colored shadows in radiant vibrational fields. Light and scale are manipulated in such a way that the colored shadows, in their apparent corporeality, become indistinguishable from the sculptural forms, enveloping the viewer in the continual interplay of reality and illusion. As artistic director of The Theatre of Eternal Music, she creates the works that form the innovative visual components of Dream House, a sound and light work in which she collaborates with Young. Artforum wrote: "Zazeela transforms material into pure and intense color sensations, and makes a perceptual encounter a spiritual experience. The Magenta Lights is an environmental piece in every sense of the word. What Zazeela has represented is the subtle relationship between precision and spirituality." Zazeela's work has been significantly influential. Her abstract calligraphy was the primary influence on the calligraphy of the great poet and founding drummer of The Theatre of Eternal Music and the Velvet Underground, Angus MacLise. Zazeela's Ornamental Lightyears Tracery has been credited in Forced Exposure and Your Flesh to be the direct influence on Warhol's Exploding Plastic Inevitable.
- 조 디베스 Joe Diebes_one to one(excerpt from Third Suite)_단채널 비디오_00:03:30_2008
Avant-garde filmmaker Ken Jacobs is considered to be one of the most important filmmakers who consistently explored the possibilities of film as a pure art form along with Kenneth Anger, Stan Brakhage, Jonas Mekas, and Jack Smith. Spiral Nebula (2005) is one of Jacobs's Nervous Magic Lantern series, in which he relentlessly experimented with the fabric of projected light, created with a hand-manipulated projector. This stroboscopic and hallucinatory kinetic performance creates a high amplitude of energy flow as it stimulates both aggressive and delicate sensibilities. ● The Guerrilla Girls are a greatly renowned feminist artist collective established in New York City in 1985. As an anonymous group using posters, books, billboards, public appearances and other creative forms of cultural expression, they expose discrimination and corruption: sexism, racism and dishonesty in politics, art, film and pop culture. They persistently criticize the gender and racial imbalance of artists represented in galleries and museums. One of their most famous poster headlines was "Do women have to be naked to get into the Met Museum?" In 1989, they used radical visuals and texts to decry the fact that less than 5% of the artists in the modern art sections in the Metropolitan Museum were women, but 85% of the nudes were female. Their activism and influences on public awareness have greatly contributed to redirect the dynamic of contemporary art. ● A documentary produced by two artists, Kathy Brew and Roberto Guerra, ID/Entity: Portraits in the 21st Century (2002) examines how new technological advances have radically changed the art of portraiture. Brew and Guerra interviewed the artists and investigated the creative process and background of each project in the exhibition of the same title that was organized by the MIT Media Lab in Cambridge, Massachusetts and The Kitchen in New York City. ID/Entity: Portraits in the 21st Century includes works by digital artists, video portrayers, sensor and interface designers, "surveillance artists," holographers and sound artists.
- 신진식 Jin Sik Shin_통회기도 2 act of contrition 2_단채널 비디오_00:01:52_2009
Sixteen short works are organized as a two-part series that will be screened in the BITT Festival. The division is freely organized since there is no intended thematic inter-relationship among the works and each artist presents a unique treatment and approach to the media. This series reviews a diverse spectrum of media art not only as a creative expression but also as an intermediary between genres, which contains and forwards ideas in syn-aesthetic modes. ● Part One features works of Jung Hee Choi; Priyanka Dasgupta; Katherine Liberovskaya and Phill Niblock; Ursula Scherrer and Kato Hideki; Joseph Valle; Beth Warshafsky and Gerry Hemingway. More than two thousand years ago the Roman poet Horace (65 BC - 8 BC) stated in Ars Poetica, "Ut pictura poesis" ("As is painting so is poetry"), recognizing and theorizing on the resemblance between two media, image and text. Since this statement stimulated more disagreement than acceptance about the resemblance of genres among later scholars, it interestingly counter-reverberates the strong tendency of contemporary artists actively responding, relating and engaging other genres of art that ultimately restructures their work. The pieces in this series approach the medium as more of a sphere of influence embracing two or more genres. Directly and indirectly, the qualities of music, poetry, painting, calligraphy and choreography are juxtaposed and subsumed, and become responsive to each other creating evocative and abstract significance. ● Jung Hee Choi's video and sound components in AUM involve phenomena in the medium of air. Each element is a derivative occurrence of a simple action that causes a complex of infinitesimally varying and unpredictable patterns. The visual component of AUM is incense smoke created by repeated and spontaneous strokes of incense calligraphy: the handwritten inscription in the air of the Sanskrit character AUM, using a burning stick of incense. The sound component of this work, Tonecycle Base 65 Hz, 2:3:7, consists of the linear superposition of 36 sine wave frequencies based on the invariant harmonic ratios of 2, 3 and 7. Each sine wave component has five harmonically related frequencies that have the same starting point (unison) but over time gradually separate while moving in the same direction. These extremely close frequencies and their harmonics constantly produce beat cycles that traverse through a continuum of phase angles. ● In the extremely simple Occam's razor cut visuals of Joseph Valle's untitled work and Priyanka Dasgupta's Nichod, "the message becomes the medium" that poetically transmits philosophical concepts and social anxieties. ● In the three collaborative works by visual artists and musicians: Katherine Liberovskaya and Phill Niblock; Ursula Scherrer and Kato Hideki; Beth Warshafsky and Gerry Hemingway, visual and aural elements are receptive and responsive to each other in the generative process and its metastasis creating pure sonic-vision syn-aesthesia. ● In general, the audience is an important component of the work in performance art and other sensory arenas. Media as aesthetic forms have various characteristics to engage the audience in different ways. The artists in Part Two, each in their own way, deal with performance and media to add dimensionality in creating and distributing their work. This series orchestrates works of Ronnie Bass, Ericka Beckman, John Bonafede, Clarina Bezzola, Joe Diebes, Claudia Joskowicz, Sungeun Kim, Ji Lee, Daniela Libertad and Jin Sik Shin. ● Erika Beckman and Jin Sik Shin are concerned with critical and potent issues in our society and raise challenging questions. However, their criticism never becomes dry; they are extensively chromatic, feelingful and rhythmic. In Switch Center, Erika Beckman used remnants of the Soviet's Modernist Architecture, which still powerfully reverberated its ideology at the time in Budapest in 2000. Beckman abstracted a rhythmic reconstruction of the structure itself that comes to life through the manipulations of the employees who work inside it. Jin Sik Shin's Act of Contrition 2 invites us to contemplate our deep psychological root of contrition and how the merciful power of forgiveness in our society can be shifted toward ourselves. ● Media is a means of contribution and distribution. As performance artists, John Bonafede and Clarina Bezzola use media as another means of involvement with the audience and their approach to media is often formal and documentative. Elements are more representative and expressively kinetic. On the other hand, both Daniela Libertad and Ronnie Bass incorporate performance as a main element in their video sphere. Nevertheless, Bass and Libertad's works are not derived from an evanescent form of live performance although their videos are often combined with other media to create the greater whole of installation and live performance. ● The capability to use the contemporary syntax of media allows artists the possibility to construe and transform their intent and effect toward new forms of artistic experience. In Claudia Joskowicz's Drawn and Quartered, an historical event, the public execution of native rebel Tupac Katari in Bolivia on November 13, 1781 was taken out of the original context and reenacted in a more subtle and abstract sense. Bach's Third Suite for Solo Cello was transformed to a literary performance in Joe Diebes' One to One; Ji Lee's public art project becomes an instruction in his Abstractor; Sungeun Kim has transcribed her journal into a visual tone poem in On the Way Home. All of these diverse explorations and appropriations of experiences have offered new ways in which we can relate our experiences to different modes of perception. ● We are extremely pleased to feature these 20 highly acclaimed and ground-breaking projects. Through the synthesis of our faculties and senses, we can find different channels to conduct our investigation into the sensory and extrasensory world. Man has a glimpse of an unknowable 'Beyond', which cannot be grasped nor understood, yet it can be approached from many aspects. Each of these channels may help us to understand complex universal principles we never experience directly, although they are ever near. ■ CHOIJUNGHEE
■ 부대행사 퍼포먼스_0619_토요일_09:00pm~12:00am_스핑터스 / 0626_토요일_09:00pm~12:00am_무세중 심야상영_0618, 0625_금요일_09:00pm~3:30am_라 몬 영+마리안 자질라, 소리 + 빛
Vol.20100613f | 빛 BITT 2010 : Festival for the arts展