Adnan presented the boattr.uk project at the DCAC conference.
The aim of the DCAC 2019 is to bring together technology, art and culture in the Digital Era, as well as to provide a forum on current research and applications incorporating technology, art and culture, to deepen cooperation,exchange experiences and good practices.
Researchers, artists and scholars are encouraged to participate in the discussion about the interaction between interdisciplinary creativity, technology, arts and culture. Authors are invited to present original papers for oral or poster presentation in the fields of New Media Arts and Digital Culture.
Together with the Stella Art Foundation, the Pushkin Museum will present a special project of the “Pushkin Museum XXI” initiative in Venice: There is a Beginning in the End, a modern art exhibition in commemoration of the 500th anniversary of the Venetian artist Jacopo Robusti, called Tintoretto. This event will be held at the same time as the 58th Venice Biennale.
The San Fantin church, where Tintoretto’s paintings used to be displayed, will host works by contemporary artists Dmitry Krymov, Irina Nakhova and Gary Hill. These pieces will be in dialogue with a painting by Emilio Vedova, a modernist Italian artist and one of Tintoretto’s followers, and the historical context of the venue. An intervention project by the !Mediengruppe Bitnik team from Switzerland will complement the exhibition and stress the atmosphere of participation and affiliation with a secret Venetian brotherhood.
In contrast to a traditional exhibition, this project is arranged as a kind of contemporary liturgy where each act is a new artwork filling the entire space of the church. In addition to media objects, the exhibition will feature a painting by Emilio Vedova, an Italian abstractionist and main follower of Tintoretto in the 20th century, which is echoed by the works of contemporary artists.
Dmitry Krymov, a scenery designer, turns the San Trovaso Church into a performative installation inspired by the Last Supper. As an interpretation of this biblical story, he constructs in the altar of the San Fantin Church an alternative reality based on trompe-l’oeil, an optical illusion, thereby causing the viewers to doubt the correctness of their perception.
A media installation by Irina Nakhova consists of three parts, each being a reference to the works of the great master. All of them reinterpret biblical stories from the perspective of contemporary history. For this artist, an important theme of Tintoretto’s works is the vigorous movement of masses of people with their crucial emotional intensity. A swirling material born on earth searches for a way out in the transcendent outer space, which is hardly comprehensible but can be felt through Irina Nakhova’s dramatic media object.
Gary Hill, a classic of American media art, decomposes Tintoretto’s paintings into patterns and elements and uses those as a basis on which to create a new sounding and shimmering essence. The primary starting point for Hill is the realm of human consciousness rather than architectural space. The combination of visual images and intense electronic tones makes it possible to achieve a deep synesthetic experience.
Tondo, one of Emilio Vedova’s later works presented at the exhibition, is in the shape of a circle. It reflects the concept of an endless loop of time. For Vedova, the mission of an artist was to record and re-translate the eternal themes of disturbing worldwide collisions: wars, injustice, oppression. Like Tintoretto, he handles huge spaces and forces of nature rather than single images. He employs the circular shape to go beyond the depictive environment through the connection between space and time.
The Pushkin Museum exhibition will be the first event to welcome a wide audience to the San Fantin Church after a decade of restoration work. Its construction was finished in the 16th century, while the first local public worship buildings date back to the 10th century.
Another participant of the exhibition is the !Mediengruppe Bitnik team, which will hold a secret intervention project for the viewers to join Tintoretto’s Secret Brotherhood. The atmosphere of secrecy, affiliation and co-creation will connect their project with the Venetian brotherhoods.
Tintoretto, Russian theatrical artists, and the social realism of Geliy Korzhev will all be on show from May 11 to Nov. 24.
Visitors of this year’s Venice Biennale, which kicks on May 11, are in for a real surprise. The world’s most anticipated art show is hosting not one but three iconic Russian museums, each showcasing works from the last 100 years, complete with a subtle reference to the Renaissance in Venice.
According to the Director of St.Petersburg’s Hermitage, Mikhail Piotrovsky, the museum will curate the Russian Pavilion at the Giardini della Biennale. For the first time ever, the task of curating a pavilion will not fall on an individual or group, but an institution.
Russia’s entry will be a collective exhibit featuring Aleksander Sokurov, who scooped the Venice Film Festival’s coveted Golden Lion award with his film Faust, and scenic painter Aleksander Shishkin-Hokusai. Sculptures featuring in the latter’s installation are currently being made in workshops in St.Petersburg’s Tovstonogov Theater, which Piotrovsky says is partnering up with the Venice Biennale.
Moscow’s Pushkin Museum and Tretyakov Gallery are also preparing their own shows at different locations in Venice. The Pushkin is teaming up with the Stella Art Foundation for the exhibition called “At the end dwells the beginning…” at the Church of San Fantin, presented as a dialogue between Old Masters and contemporary artists. Among those being featured include Tintoretto and Emilio Vedova, theater director Dmitry Krymov, and conceptualist Irina Nakhova (who represented Russia at the 2015 biennale), American video artist Garry Hill, and the Swiss collective !Mediengruppe Bitnik.
As requested by the Venice-based Ca’ Foscari University, the Tretyakov will curate a monographic exhibit by Geliy Korzhev titled “Korzhev. Back to Venice.” The representative of socialist realism, who authored the famous “Raising the Banner,” is a favorite of Tretyakov Director Zelfira Tregulova. She featured his work at the Palazzo delle Esposizioni in Rome, not to mention organizing his first retrospective at the Tretyakov in 2016.
The word “Back” in the title of the exhibit relates to the artist’s participation in the 1962 biennale, when he represented Russia, among others. Today this exhibition space will feature some 50 works.
Both Moscow museums have also submitted their exhibits to the biennale’s parallel program, which will provide additional opportunities to promote their exhibitions. However, the Pushkin Museum told Russia Beyond that both applications have been declined.
The winning team is composed of Dr Hesperia Iliadou Suppiej (lead curator), Vince Briffa (artist), Klitsa Antoniou (artist), Trevor Borg (artist) and Perit Matthew Joseph Casha (architect/designer). The production management team is composed of Mr Stephen Ciantar and Mr George Lazoglou.
The aim of the Malta Pavilion is to offer a platform through which Maltese contemporary artistic practices understood within the broadest sense of the term can be exposed, contextualised and presented to an international audience.
Dr Hesperia Iliadou-Suppiej (lead curator)
Setting Malta, Maleth, at the centre of its theme the project focuses on the role of the island as cultural centre of the Mediterranean Sea, both in history and in current times. The project seeks to present an exhibit which invites the audience to reflect on their own lifetime journey of self- discovery, their own search for a personal Haven/ Port.
Drawing on the tri-fold of history/archaeology, myth/tradition and vision/expectation, the exhibit aims to create within the space of the Malta National Pavilion a topos/locus of artistic conversation for the whole of the Mediterrenean Sea. Absolutely entuned with this year’s theme of the Venice Art Biennale as described by its artistic director, Ralph Rugoff the project ‘will aim to welcome its public to an expansive experience of the deep involvement… engaging visitors in a series of encounters…’, leading to self- discovery.
Creating a space within space, Evoking Heterotopias invites the audience to participate in an intuitive dialogue with the artworks which are organically placed within the built shell of the Venetian Arsenale. As vessels/islands within a sea, artworks come together, in creating a unique experience for the visitor, who is asked to traverse the exhibition space in a voyage of self discovery that takes place in a suggestive fictitious space of controlled light and sound.
CAVE OF DARKNESS – PORT OF NO RETURN A site-specific installation by Trevor Borg Trevor Borg’s work titled Cave of Darkness– Port of No Return proposes a re-imagined multilayered narrative of ancient creatures and long lost civilizations, exploring entrapment concealed within a Haven. Drawing from animal remains and artifacts excavated in a cave in Malta the work seeks to make (up) histories and to fabricate realities and semblances.
In a site-specific installation meticulously researched by the artist, excavated remains of never-seen-before creatures and peculiar artefacts retrieved from now lost ancient Mediterranean cultures re-emerge to expose new layers of meaning.
The artist invites the visitor into a mystical journey of surprise and self-inquiry navigating through the pre-historic layers of Malta in the footsteps of its earliest inhabitants and their final end. The work is an exploration of entrapment concealed within a safe haven.
OUTLAND A multi-screen projection by Vince Briffa OUTLAND focuses on the indecisiveness of man as he longs to return to his original life, caught between the safety of an island and the peril of sea crossing.
Inspired by TheOdyssey, it uses the myth of Calypso and Ulysses to reinterpret, in contemporary imagery and sound, the duality of the character of Calypso, as lover and oppressor, as she offers a haven for Ulysses during the seven years of his harbouring in her cave.
Through multiple films, the installation explores the numbness and the lure of safety, the obsession of keeping someone hostage and the longing for freedom.
ATLANTROPA: A HETEROTOPIA OF EVOCATION A multi- media installation by Klitsa Antoniou Atlantropa was a gigantic engineering and colonisation idea devised by the German architect Herman Sorgel in the 1920s. His project proposed to partially drain the Mediterranean forming a European supercontinent.
Today, more than ever, the Atlantropa scheme (of forming land bridges in the Mediterranean) seems relevant as it is suddenly fortified by contemporary intensity to remind us of the limits on freedom (migrants and refugees) and the destiny of the inhabitants of this area (surviving amid military, political, economic, social complexities/contrasts, migrations and fluid topographies of rejected, forgotten, unseen and silent memories).
This project in the context of the Malta Pavilion will aim to conceptually and artistically join the two islands of the Mediterranean, Malta and Cyprus, by offering glimpses on the utopian drives and the dystopian fallouts that characterise the Mediterranean area.
BIOGRAPHICAL NOTES
Lead Curator
Dr Hesperia Iliadou de Subplajo-Suppiej Hesperia is an elected professor in the History of Art &Architecture and a Museum Studies specialist, member of ICOM-Italia, the International Council of Museums. Educated at the NTU Athens, the University of London (Bartlett) and the Research Centre of Museum & Galleries of the University of Leicester, she is currently researching socially engaged strategies in curating and the creation of a new museum in Venice dedicated to artisan practices and the arts.
Since 2014 she has been acting commissioner for the Venice Biennale and involved in different aspects of the research and organisational process of exhibiting in Venice. She has curated different exhibitions of both contemporary art and historical themed museum exhibits, lastly being curator of the inaugural exhibition of the European Capital of Culture 2017.
She lives in Venice, where she currently teaches Museology, Exhibition Techniques and Socially Engaged Art at the MA in Curatorial Practice at the European Institute of Design. Her academic publications and research focuses in contemporary practices in representing and exhibiting the cultural history and arts of the Mediterranean Sea.
Artists
Dr Trevor Borg Trevor is a practising artist, curator and lecturer within the Department of Digital Arts at the University of Malta. He holds a PhD in Fine Art practice from the University of Leeds and his work spans a diverse range of media from drawing to painting, sculpture, photography, film, and installations.
He has worked in the creative industries, namely within the design sector and with Heritage Malta, the national agency for museums.
His work has been shown in numerous museums and galleries internationally and he regularly delivers talks and papers related to art practice and research.
He has exhibited his work at the MKM Museum Küppersmühle Duisburg, Künstlerhaus Vienna, Museum voor Moderne Kunst Oostende, European Parliament, NRW-Forum Dusseldorf and Stadsschouwburg De Harmonie Leeuwarden, among many others.
Professor Vince Briffa Vince is Associate Professor and Head of Department of Digital Arts at the University of Malta. A multi-disciplinary artist educated at Leeds University and UCLan in the UK.
He is a Fellow of the Civitella Ranieri Foundation, New York and curated exhibitions at the NRW-Forum, Düsseldorf; the Münchner Künstlerhaus, Munich; Les Rencontres Arles, France; Leeuwarden, the Netherlands amongst others. Briffa has published numerous papers and books related to art practice.
As an artist, he has exhibited in major museums and art galleries worldwide, including the Venice Biennale (1999); the United Nations Building, Geneva; the Museum of Modern Art, Liechtenstein; the Museo de Arte Contemporaneo de Santa Fe, Argentina; Palais Liechtenstein, Austria; the Museum of Fine Arts, Romania and the Museum of Modern Art, Tel Aviv amongst many others.
He was also commissioned projects by the Cork 2005, Pafos 2017 and Leeuwarden-Friesland 2018 European Capitals of Culture. His work forms part of numerous private and public collections.
Dr Klitsa Antoniou Klitsa is a Professor of Fine Arts at Cyprus University of Technology. A multidisciplinary artist educated at Wimbledon School of Art, St Martin’s School of Art and Design London (B.F.A.), Pratt Institute (M.F.A.), New York University, USA (D.A. Program) and Cyprus University of Technology (PhD).
As an artist, she has exhibited in major museums and art galleries worldwide. She has been an artist in residence in many countries and participated in numerous workshops and seminars. Her work has been exhibited in Herzliya Museum, Israel, Circulo de Bellas Artes, Madrid, Palais du Rhin/Drac Alsace, Strasbourg, Arte Contemporanea Pinerolo, Torino, Sandstrom Andersson Gallery, Sweden, Exhibit Gallery, London, Antrepo, Istanbul, Espace Commines, Paris, Pulchri Studio, Hague, Macedonian Museum, Thessaloniki, Wonderland Lotte Square, Quanzhou, China, Bozar Expo, Belgium, Museum of Contemporary Art, Sarajevo, Skanes konstforening, Malmo, Sweden, Petach Tikva Museum, Israel, Museum of Nanjing University of the Art, China and The Museum of the Arts of the 20th and 21st Century, St Petersburg, Russia. She has won numerous awards.
Architect/ Designer
Perit Matthew Joseph Casha Matthew is an Architect and Civil Engineer specialising in architectural and spatial design. Having graduated with a Bachelor’s degree in Engineering and Architecture in Malta, Matthew pursued his studies with a Masters Degree in Construction Project Management in Aberdeen, Scotland. Before founding his own studio, Matthew worked on a number of major national projects, which involved integration of spatial planning with high end detailed design.
Through the mission of ‘Inspiring change through creative action’, Matthew has successfully worked on a number of architectural and spatial projects promoting good design through industrial, commercial and residential projects.
Besides practising architecture, Matthew is also experienced in project leadership, as well as in the organisation of local design exhibitions and festivals, such as Malta Design Week 2012 and 2014. Having a keen eye and passion for design, Matthew has also successfully participated in various local and international design competitions.
Production Management Team
George Lazoglou George has studied Electronic Engineering and Energy Management systems. Parallel to this, he attended Photography and Theatre Lighting Courses and workshops in Edinburgh, London and Thessaloniki. He has a MA in Multimedia Design, from the Cyprus University of Technology, in the research area of “Virtual Reality and Theatre” (2012). In addition, he completed a year in the Doctorate program in professional Studies at Middlesex University in the subject of Multimedia Applications in Contemporary Theater.
He is a production manager and a light designer working in the Theatre area specializing in Light and Multi-media Design. He was project Manager for a number of International Visual Arts Exhibitions both in Cyprus and abroad.
Under his direction, as a Production Manager of Paphos2017 European Capital of Culture, some of the biggest and most important performances and artistic events ever happening in Cyprus were planned and implemented.
Stephen Ciantar Stephen is the Managing Director of an import and distribution company specialising in power, control and lighting automation systems, with direct emphasis on lighting design automation. His company has undertaken numerous lighting projects in all sectors of the market, namely upscale residential lighting, commercial and industrial systems.
Previously Stephen has worked with German and American owned companies in the electronics manufacturing sector and was responsible for Sales Export and Business Development for various regions, globally. He has on numerous occasions organised the respective company’s participation in international exhibitions across many countries.
Stephen has over 20 years of managerial experience in international trade, export and business development and has also managed numerous projects bringing together product specialists from various countries thereby promoting cross border collaborations.
Circuits, the annual conference for electronic music production and performance enthusiasts is back! Now in its fourth edition, Circuits is being again organised at Spazju Kreattiv and will span two days on the 3rd and 4th of May 2019.
At Circuits this year, besides the usual non-stop discussions, performances, and installations, there will be several new additions. One of these additions will be the presence of a public music equipment stand sporting various state of the synthesizers, drum machines and other equipment which the public can try out.
Besides these, the public can attend to a lecture followed by a performance on how to build guitars or distortion units from recycled equipment, they can attend a masterclass on mastering hosted by a world-class producer and engineer, experience alternative electronic music performances which include live sketching, a modern chamber ensemble and also a performance where electro-acoustic and synthesizer pioneers meet today’s electronic dance music.
Circuits, the conference for local electronic music production enthusiasts, returns this year on the 3rd and 4th of May at Spazju Kreattiv, Valletta. This conference is now in its fourth edition. For the first time, this year, there will be a music equipment demonstration area hosted by Black Box Pro.
In 2015, Electronic Music Malta (EMM) was born out of the need for such artists to be recognized and for them to come together exposing themselves to educational initiatives and opportunities, sharing with the public their skills and knowledge preferably in the Maltese mother tongue, networking with other organizations and other artists, to document the works and achievements of similar artists in the past years, to maintain in good condition the innovative instruments developed in the past 40 years some of which where actually used in the local music scene and to champion innovation in electronic music and art in general. Ever since its formation, EMM partnered with Fondazzjoni Kreattivita and the National Radio Station so to promote the above objectives, setting out to organize periodical activities of various nature (as documented in this annual report), launching their bi-weekly voice on national radio (Radio Malta 2), and being officially recognized as a Voluntary Organisation (with the above objectives being part of the statute). MetroElectronic Music Malta
What will be Happening on the First Day?
The equipment demonstration area will open as from 16:00 hours whilst there will be a workshop hosted by Patricia Cvetkovic at 17:00 hours.
The first day will come to a conclusion at 20:00 hours with a Performance-Lecture by alternative instrument creator Yuri Landman, a past artists-in-residence of the Spazju Kreattiv Artists’ Residency. During this activity, Yuri will be performing using a variety of his instruments whilst delving into technical aspects used in the creation process.
The interact area (with live dj’s, an information desk and video kiosks) will open as from 14:00 hours and the equipment demonstration area will open as from 13:00 hours.
The conference will come to an end at 20:00 hours with a concert from the groups POW Ensemble and Poèmes Électroniques.
Documentary Screening – Gary Numan Android in La La Land – Promoting Mental Health Awareness, will be EMM’s first collaboration with the Richmond Foundation (Malta). As the documentary covers a particular aspect of Gary Numan’s career who, in his early fifties, faced numerous mental health challenges, we thought it was fit to bring forward a subject which may still be considered a taboo amongst many. Electronic Music MaltaGary Numan – Android in La La Land Richmond Malta
Object, Objetc, Objecc
This exhibition brings together the work of three international artists: Liza Eurich (CA), Katri Kempas (FIN) and Letta Shtohryn (UKR/MT). Having met during a month-long residency at SIM in Reykjavik Iceland, they continue to hold informal conversational exchanges, a mechanism that acts as the starting point for this project. Operating from a platform of call and response, the production of work for this exhibition seeks to explore methods of translation: from simulated to real, from personal to referential, from present to absent and vice versa. Further, it provides a methodology for working collaboratively across the geographical expanse, opening up a space of intimate dialogue. Starting from a shared interest in objectness, the thematic for these exchanges will engage with processes that endeavour to dematerialize the material, or conversely materialize the immaterial. An Art Additives Talk will also be held in relation to this exhibition. Spazju KreattivObject, Objetc, Objecc
The internet is dead, long live the internets! In 2025, the internet will consist of either gated communities or decentralised independent instances. For those who want to be connected while choosing their own dependencies, there is no other option than to draw up new networks and experiment with both historical and innovative protocols.
Networks with an Attitude is a six-day worksession organised by Constant. During this intensive week we stretch the imagination of what a network is, and what it can be.
This Warp* documents Networks with an attitude, a worksession (de)centralized around ’The internet is dead’ & ’Long live the internets’. Last April, 40 participants explored highly proprietary (…)
Stories, presentations and reports of what happened during part two of the worksession: ’Long live the Internets’ and a booklaunch. Booklaunch ’Technological Sovereignty’ translation to Dutch + (…)
Listen to a Networks With an Attitude contribution on Webgang, a radio show on F/loss culture and technology on radio centraal 106.7 Network Jam in Toitoidrome + S14 Go to one of the two (…)
Stories and reports on what has been happening in the first part of the worksession entitled ’The internet is dead’ and two presentations De-google/de-gafam your organisation/digital life Agnez (…)
7-13 April 2019 @ Antwerp/BE “Networks do not tell all stories equally. Networks, like all entities with stories, tell most readily those stories in whose reflection they see themselves.” (…)
During a weekend, HeK and ICST present works that were developed for the interactive sound and video environment Immersive Lab as part of an artist residency and a workshop. Visitors have the opportunity to interact with the installation.
The Immersive Lab – developed by Daniel Bisig and Jan Schacher – is a unique sound and video space; in a ring-shaped arrangement it presents digital media produced in real time in a panorama projection with surround sound. The entire surface of the installation is touch-sensitive and allows visitors to interact and influence the content. The Immersive Lab has been further developed by the Institute for Computer Music and Sound Technology (ICST) of the Zurich University of the Arts for several years as a platform for the realisation and presentation of artistic works.
HeK presents works that were previously created on site during an artist residency and a workshop. Visitors are invited to immerse themselves in the unique media world and become part of the Immersive Lab’s unusual spatial, interactive and collaborative environment. It is only through the interaction of the audience that the work unfolds its full potential.
Special attention will be paid to the project coexistence, which the two artists Nadine Cocina and Ramona Sprenger realized during the residence at HeK.
The interactive installation coexistence deals with the meaning, perception and relevance of physical and digital spaces whose definition and accessibility have drastically changed with the Internet. In the Immersive Lab, the two artists create and simulate different spaces and give visitors the opportunity to create new contexts through their overlapping and juxtaposition.
On Saturday, 13.04.2019, the participants of BitFabrik will create works for the Immersive Lab between 1pm and 4pm. As part of the programming club for children and teenagers – a new HeK format – the kids will develop their own ideas for the interactive setting and experiment with sound and video.
The proposed European Forum for Advanced Practices (EFAP) aims to initiate and host a network of
researchers, practitioners, and theorists from across Europe who are actively shaping innovative and
transformative forms of research across and among many artistic and academic fields, industry, the
private sector, and civil society. Their research activities, which are often hybrid in method, are usually consigned to the categories ‘practice-based’ or ‘artistic research.’ While both of these terms can be broadly descriptive, they are too general to keep pace with the inventive experimentalism of practice-oriented research activity. In particular, they fail to capture the extent to which these new and cross-disciplinary collaborative research practices are reshaping the institutions and contexts around them. Rather than adhere to established ‘best practices’ or seek, as ‘advance studies’ do, to advance particular disciplinary or institutional contexts, these research practices aim to reconfigure conventional assumptions and approaches. Their strength lies precisely in their ability to radically reformulate problems outside of conventional frames, and to draw on a wide range of epistemologies, protocols, and practices to propose innovative or even transformative forms of impact. In doing so, they redefine assumptions about who the stakeholders are, how they relate to each other and their fields, and, crucially, what the nature of the stakes can be.
For these reasons, EFAP proposes a new umbrella term, Advanced Practices, to describe this
widespread ‘research turn’ composed of cross-disciplinary practices and hybridized methods across
disparate contexts. EFAP believes that recognizing (1) the fundamentally advanced nature of these
activities, (2) surveying and studying specific examples and programmatic contexts in order to
understand how they can be nurtured at all levels, and (3) developing vocabularies and frameworks as
dynamic and generative as the practices themselves to articulate and assess them are essential steps
in realizing their potential for European society.
This initiative comes in response to widespread need among academic and civic institutions, as well as
the private sector, to clarify the protocols, means, and potentials of practice-oriented research activity.
EFAP sets out to:
survey the range of emerging practice-driven research modes;
develop new vocabularies and typologies for describing and assessing the operations and
methodologies of these emergent research forms;
develop provisional criteria and flexible procedures for valuing and evaluating them; and
propose flexible principles, structures, and procedures, for the fostering of new practice-driven
research for institutions, funding agencies, and the private sector.
EFAP’s aim is to promote both the development of advanced forms of research and advanced ways of
translating their practices and findings into teaching curricula, incentive frameworks, innovation projects, and multi-layered, matrixed responses to complex societal challenges.
As part of the exhibition Swiss Media Art: !Mediengruppe Bitnik, Fragmentin, Lauren Huret – Pax Art Awards 2018 a Cryptorave will take place at HeK; a dance party that combines crypto currencies and live action roleplaying games.
Recently, !Mediengruppe Bitnik – Carmen Weisskopf and Domagoj Smoljo – developed Cryptoraves in collaboration with Omsk Social Club: performative events including live action role-playing games, dance parties and crypto currencies. Visitors are invited to take part in the participative performance by registering on the Cryptorave website and allowing their computer to mine the anonymous crypto currency Monero in order to unlock information about the party and the role to be played. By joining their computing power, the participating community collectively generates value to enable the autonomous dance party experience. Through the online mining process, participants unlock their LARP identity, the Cryptorave reader and finally their entry ticket to the rave.
Mine your ticket and unlock information on the party here: http://0b673cce.xyz
The acts Ven3mo (CH), Primitive Art (IT), Crystallmess (FR) and Suutoo (GB) will play live at the Cryptorave.
Ven’3mo is a Geneva-based multidisciplinary artist, DJ and researcher. She plays with sound in order to explore notions of hybridisation and mutation – looking at music as a vector for transformation and deconstruction. Her sets are not subject to one genre and are filled with different textures and narratives.
Primitive Art is an Italian experimental music band founded in 2011 by the collaboration of Matteo Pit and Jim C. Nedd. Digital soundscapes provide the arena for timbres, melodies, verses and spoken words to crash into one another. Within the haze, the duo winds up its chaotic energy, channeling their intimate songs in strange territories.
Through the medium of DJing, Crystallmess concentrates on the analysis of so-called „subcultures“ and the influence of black diasporas. Through the multiplication of references to dancehall, soca, logobi and hip-hop, Crystallmess manifests the importance of these currents in the formation of new musical territories. Her expressive sets decolonise club culture, inviting us to rethink the future.
Multi-disciplinary artist and musician Suutoo creates soundscapes both harmonious and discordant. Utilising fantasy as a weapon of choice, Suutoo destroys the gods you thought you worshipped and lets you swallow light.
Upon conclusion of the pilot phase, documenting human rights violations occurring at sea during SAR or interdiction events in the period 2015-2018, following a successful launch of the SAROBMED website, including at the LIBE Hearing of 27 November 2018, and considering the urgency of events unfolding in the Mediterranean, the situation in Libya, and the project of a FRONTEX reform and disembarkation platforms gaining support at EU political and policy level, SAROBMED partners meet to assess results so far and determine the next stage of collaboration. This meeting will allow a reflection on the work undertaken and the changes necessary to adapt to the new circumstances, where SAR NGOs can hardly operate and where a conversion of rescue into monitoring activities of
interdictions and pull backs at the EU’s external maritime borders seems the main way to go. The meeting will serve to review the incident template report, assess the SAROBMED App currently being developed by our Brunel partners, adapt the data categories of recorded information, agree on SOPs that are safe and in compliance with the relevant legal standards, and collectively reflect on the way forward.
OUR MISSION
Migrant deaths are rising despite increased operational presence at sea. Proactive Search and Rescue (SAR) operations are being replaced by security missions by coastal states. Allegations of human rights violations against boat migrants and NGO vessels and personnel are multiplying and humanitarian assistance is being conflated with the crimes of smuggling and trafficking.
Currently no monitoring system exists for SAR and the measures adopted in this regard have been ineffective. Such scenario makes SAROBMED initiative all the more necessary, as our mission is to raise awareness among stakeholders, policy makers and the general public.
In order to carry out our mission, SAROBMED would set up an independent, research-led observatory of search and rescue (SAR) and interdiction incidents, through a secured digital environment for the collection, storage, exchange, and dissemination of reliable data regarding human rights violations in the Mediterranean.
OUR ORGANISATION
SAROBMED: The Search and Rescue Observatory for the Mediterranean is an international, multi-disciplinary consortium of independent researchers, civil society groups, and other organisations working in the field of cross-border maritime migration, either on the ground, or through advocacy, research and/or strategic litigation.
The key purpose of SAROBMED is to set up an independent, research-led observatory of search and rescue (SAR) and interdiction incidents, through the collection, analysis and dissemination of reliable data regarding human rights violations in the Mediterranean.
Members of the Observatory record and report incidents occurring at sea to the SAROBMED who processes, stores, and analyses the data. Analysing and systematising new data sources feeds into evidence-based research, tracking trends, identifying best practices, and fostering knowledge exchange between partners. This collaborative process supports cooperation, optimizing responses in cases of victimisation and/or prosecution of survivors and/or their helpers. NGO partners are also the main end-users of SAROBMED results, which support evidence-based advocacy, strategic litigation, and research-led lobbying and campaigning. Researchers, from their part, have the opportunity to gather and compile this new dataset, conduct ground-breaking, cross-disciplinary research, and impact realities beyond academia, helping to generate a counter-narrative challenging prevailing discourse and raising public awareness.
OUR VISION
SAROBMED’s mission is pursued through the four inter-dependent legs of the project:
Data collection and dissemination of first-hand information of incidents occurring at sea published online
Operational cooperation and coordination between members to maintain high-quality SAR
Policy-relevant research and targeted advocacy action
Strategic litigation of key cases to promote legal change
Adnan Hadzi took part in the immersive lab workshop @HEK. The ‘Immersive Lab’ is an artistic and technological research project of the Institute of Computer Music and Sound Technology at the Zurich University of the Arts. It is a media space that integrates panoramic video, surround audio with full touch interaction on the entire screen surface. The ‘Immersive Lab’ provides a platform for a catalogue of artistic works that are specifically tailored to the unique situation that this configuration offers. These works articulate the relationship between immersive media and direct interaction. It functions both as a space for experimental learning and creation and as a permanent audiovisual installation for the general public, showing finished pieces in a self-explanatory way.This installation as a platform is the fruit of several years of investigation and artistic creation. The term Immersion is used in a broader sense. Apart from spatial envelopment by image and sound, additional levels of immersions are generated for the visitors: they enter into a dedicated physical space, direct tactile interaction on the panoramic surface enhances their personal engagement, and finally within the shared space arise group behaviour and social interactions. Such an extended form of immersion provides a multi-faceted experience.The compositions can be collaboratively created and combine visual and sonic material with generative and algorithmic methods. The artistic approach focuses on real-time pieces that react to visitor interaction and that take advantage of the panoramic nature of the installation.
Different forms of engagement are possible within the installation. The audience can freely explore the works and experience different types of perceptions. Artists can experiment with the development of compositional strategies for working with different senses and artistic domains. The installation exposes foundational aspects of immersion such as spatial and multi-sensory perception, which provide interesting topics for investigation.Work in the ‘Immersive Lab’ happens in different phases, activities, and addresses different people. In a teaching context, in general, any student can visit the lab in guided tours. Students majoring in electronic music or media arts, however, are invited to actively learn by exploring the inner workings of existing pieces. Artists and advanced students have the opportunity to become involved more intensely by creating entirely new pieces. For this, the ICST offers to share its experience, methods, and tools for development and realization of ideas for this particular media space. Finally, in the exhibition context, general audiences are invited to experience the catalogue of works.
