Since its first edition in 2012, the SP_Urban Digital Festival aims to expand the concept of art to establish digital technology channels as integral parts of the city; merging architecture, art and media. The festival is formed as a living organism through the São Paulo urban setting in which artists propose reflections intrinsic to the metropolis and its inhabitants, with new interactive technologies.
The exhibition invites the viewers to experience the blend of electronic art with contemporary art. To immerse in the withdrawal of the lanes of design, game, animation and art categories. In addition, in this immersion, to check out artistic productions that are tricking some aesthetic boundaries. The image distortion. The color and tone saturation. The fusion of things. The combination of real space with virtual space. The outlining and blurring of vision. The synchrony of image and sound. The combination of old and new. The exploration of mathematical formulas. The extrapolation of media limits. The membrane that builds on itself. The disturbance of software order. The integration of exterior and interior.
It is, above all, an invitation to unlock the door of the senses. To enjoy. To perceive and discover the nuances that exist between one thing and another. However, not to recognize them as a geometric line that reinforces the limits that are barriers, but to recognize the intimacy of the in between the potential of transformation. The interaction and the contemplation, the grope and the hearing which allow to amplify our mind because it is in this process of groping that the imagination experiments the sensation of going beyond its limit.
The Museu do Amanhã (Museum of Tomorrow), which opens Thursday [Dec 17 2015], must already rank as one of the world’s most extraordinary buildings. But once the public starts to visit this weekend, it may soon also become known for one of the planet’s most powerful arguments for sustainability.
Mixing science and art, the 230m reais (£40m/$59m) institution devotes itself to a topic that is divisive and often depressing: the need for change if mankind is to avoid climate disaster, environmental degradation and social collapse.
The ArtFutura festival is organized as a network where all the cities involved share a common theme, catalog, website and the same audiovisual program.
ArtFutura 2015 edition will start on November 5th and will arrive to more than 20 cities.
The screenings are programmable over the following six months and the local calendar is defined at the discretion of each center or museum.
Punta del Este
Santiago de Chile
FILE 2015 – Electronic Language International Festival takes place this year from June 16th to August 16th at Centro Cultural FIESP – Ruth Cardoso. In its 16th edition, the festival occupies the Art Gallery of SESI-SP, the Digital Art Gallery (the facade of the FIESP building) with the FILE LED SHOW, and the Mezzanine Floor, where a series of workshops takes place. The festival exhibits the interactive installation “Solar Pink”, by the North American group Assocreation, in the sidewalks of Avenida Paulista, and the installation “Arart” in the subway stations Trianon-Masp and Consolação. Created by Japanese artists Takeshi Mukai, Kei Shiratori and Younghyo Bak, this work creates dynamics in iconic art history paintings using an app for mobile devices.
The FILE 2015 exhibition, that takes place at the Art Gallery of SESI-SP, gathers artistic proposals in several forms such as interactive installations, games for multiple platforms, animations, video art, GIFs, WebGLs, web art and electronic sounds.
The festival also exhibits a projection subtitled in Portuguese of the award-winning movie “Shirley – Visions of Reality”, directed by Austrian filmmaker Gustav Deutsch, a contemporary cult cinema icon. Never shown before in Brazil, the film is based on 13 paintings by American painter Edward Hopper.
Primary Codes surveys for the first time in Brazil the development of computer art through the works of four world-renowned computer artists Paul Brown, Harold Cohen, Ernest Edmonds and Frieder Nake. Curated by Caroline Menezes and Fabrizio Augusto Poltronieri and presented at the Centro Cultural Oi Futuro Flamengo, Rio de Janeiro, Brazil, Primary Codes includes new and historical digital prints, drawings and paintings as well as newly commissioned works and interactive installations by each artist, who have been working with computer art for over 40 years and are presented together for the first time in Latin America. Primary Codes runs from 15 June to 16 August 2015 at the Centro Cultural Oi Futuro Flamengo, Rio de Janeiro, Brazil.
The park is located near Belo Horizonte in Minas Gerais.
Instituto Inhotim began to be conceived in the mid-1980s by Minas Gerais businessman Bernardo de Mello Paz. With time, this parcel of private land was transformed into a unique place, with one of the most significant collections of contemporary art in the world and a botanical collection containing rare species from every continent.
Sonic Pavilion (2009), a site-specific work developed from a preexisting idea, is the result of a five-year process of research, design and construction. The piece, although it was complex to produce, is based on a simple, albeit ambitious principle. Its construction involved the boring of a 200-meter-deep well in the ground in order to install a set of microphones to capture the sound of the earth. By way of a sophisticated system of equalization and amplification, this sound is played in real time inside the empty circular pavilion, which was designed to create equivalence between the audio experience and one’s relation to the surrounding space.
Janet Cardiff & George Bures Miller, The Murder of Crows (2008)
Cardiff and Bures Miller are at the forefront of a generation of artists who employ advanced technology. Working in a variety of media, including video, installation and recorded sound, they have repeatedly examined audiovisual perception and the experience of the viewer, by exploring the creation of sculptural and physical sounds.