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Workshop : Faces of Mediation, part 2
Wednesday, January 17th 2007
(10 a.m.-12.30 a.m.)
IV. MOVING FORUMS : ALTERNATIVE, TRANSDISCIPLINAR AND HYBRID CIRCUITS
Cultural mediations and collectives of precariousness
Vladimir Najman
< space > < new paragraph > < apostrophe > The < space > GénéralE < apostrophe >
’La Générale’ has been created in february 2005. It welcomes today, at a permanent basis, some hundred artists and explorers in the social and political field. A still larger circle of participants surrounds it. My intervention will briefly recall the history and geography of ’La Générale’, in order to focus on more detailed questions such as : the communal experience (without collective), (b) the project, (c) the participation in the project, (d) the connection between interior and exterior (in/out) in this factory, (e) total performance... (f), (g),..., (z) The investment of space left vacant (volumes, fields of thought, politics, feelings, emotions, etc.) during a determined period is at the heart of our approach.
mY WORK (BUT IN WHAT SENSE DOES IT BELONG TO ME?) CONSISTS OF COURSE OF DOING AS LESS AS POSSIBLE. i NEED TO SPECIFY I BEGAN TO EARN SOME MONEY FROM THE AGE OF 3. i WAS A MODEL FOR SEVERAL PHOTOGRAPHERS AND FOR PRAISING HIGHLY PRODUCTS SUCH AS PAPI BROSSARD BISCUITS, CHARENTE POITOU’S BUTTER, MERCIER CHAMPAIGN, KIRI CHEESE AND FRANCK OLIVIER’S CLOTHING ; i WAS PLAYING IN A FILM WITH THE ABSURD TITLE "ARE YOU ENGAGED WITH A GREEK MARINE OR WITH A AIRLINE PILOTE ?" (WITH JEAN YANNE, FRANCIS BLANCHE AND FRANÇOISE FABIAN NAMELY) IN THAT FILM MY NAME IS SPELLED ’NADJAM’ AND THIS MARKS THE START OF A LONG SERIES OF DIVERS AND VARIED PSEUDONYMS). wHEN A HAIRED SHADOW BEGINS TO APPEAR UNDER MY NOSE, MA CAREER AS A MODEL AND A COMEDIAN BRUTALLY COMES TO AN END AND MY ARTISTIC ACTIVITIES UNDERGO A MUTATION. oR TO BE MORE PRECISE, THEIR FORM DOES CHANGE BECAUSE I DECIDED TO DO POLITICS BY CREATING A SECRET ORGANIZATION, "PARIS AUTONOME/PA’. BECAUSE - WHAT A PITY - MONEY DOES NOT FALL DOWN FROM HEAVEN (NOT MINE), I HAVE SEVERAL JOBS : DIRECTION SECRETARY, JOURNAL SELLER, ASSISTANTS ASSISTANT, TRANSLATOR, ETC. THIS WHILE CONTINUING UNIVERSITY STUDIES BUT WITHOUT ANY LEGAL WORKING PERMIT (I AM NOT FRENCH, NOR BELGIAN). a FRIEND HAS A FRIEND DEPUTY ET I GET MY PAPERS AND THEN A WORK FOR LIVE AS A CIVIL SERVANT. wAR EXPLODES IN MY COUNTRY, AND I TELL MYSELF I HAVE TO DO ALL I CAN TO STOP IT. rEFLEXION, PUBLICATION, RADIO, VIDEO, FILM, TELEVISION, REUNIONS, MANIFESTATIONS, ORGANIZATION, ACTIONS, TRACTS, MEETINGS, OCCUPATION...CEASE-FIRE FOLLOWED BY A PEACE-AGREEMENT. mA SON IS BORN. i DEVOTE MYSELF TO HIM WHICH IS EASY, MORE ESPECIALLY BECAUSE I DON’T HAVE ANY JOB ANY MORE- HAPPINESS. sOME YEARS LATER, MY SON HAS A BROTHER, HIS FATHERS NAME IS ANDREI. hE OPENS THE ’DEADLOCK’, I PROPOSE HIM A HOSPITABLE INSTALLATION. tHE DEADLOCK IS CLOSED. wE PASS TIME WITH OUR CHILDREN. aT GENERAL LASALLE STREET, IN THE 19TH DISTRICT OF PARIS, A DOOR IS OPEN AND OUR INVESTMENT IS BAPTIZED ’LA GÉNÉRALE’. tHERE IS AN INTERNET-SITE THAT PRESENTS IT : WWW.LAGENERALE.ORG. dURING ALL THAT TIME, I DID NOT STOP READING AND WRITING. jUST THAT.
Sara Doke
Precarious meetings
Precarious meetings between a project, a place, a particular political and social situation, artists and intellectuals. How can one create the encounter between disciplines, cultures and different environments around an issue that transcends all of them ? Development of an experience of mediation which is social as well as cultural.
Sara Doke co-directs the collective A(rts)mazone which creates synergies, interdisciplinar and artistic meetings, political and cultural events on the crossroads of the city and sociology. She organized recently an artistic event with a social and politic dimension on different forms of precariousness in the field of health, accomodation, women, illegal immigrants and the homeless, including interventions, debates, concerts, exhibitions, workshops and performances.
http://web.ekzay.com/artsamazone
Wednesday, January 17th 2007
(2.30 p.m.-5 p.m.)
V. MULTIPLICITIES OF MEDIATION IN THE DIGITAL AGE
Economy and electronic art (correspondances and gaps), archiving and architecture of electronic data bases
Paul Devautour
Mediation as media and forms without media In the new economy of information, cultural practice can be reduced and valorized as a marketable source of digitalized contents. The gaseous state of art (according to Yves Michaud) could be the consequence of art’s adaptation to the demands of marketing. In order to describe in an effective way what is at stake in this apparent disappearance of art, one must make use of new technologies’ vocabulary. So let’s talk about interoperability. One could say artistic practice supports (in its "computer" sense) all cultural practices. But if art becomes compatible, it remains nevertheless autonomous, except if it falls into the trap of cultural industrie, which functions as a subprogram of social control. One must try to understand why, today, artistic practice can adopt a paradoxical form of invisibility.
Yoon-Ya & Paul Devautour, operators in art, have organized numerous exhibitions since 1985. Their personal collection was the subject of a permanent presentation at the Mamco Museum in Geneva, from 1993 to 2003. Paul Devautour coordinated the Invisible College, a post-diploma in networking at the School of Higher Education in Fine Arts of Marseille from 2000 to 2004. He is actually directing the National School of Higher Education in Arts at Bourges.
sur www.ciren.org sur www.college-invisible.org
Sandra Fauconnier
Re-mediation strategies for electronic art
The re-mediation of technologically-driven art projects that have been developed and exhibited in the past, poses a series of interesting challenges. Which concerns and strategies exist in terms of the preservation, recreation and documentation of historical works? An outline of conceptual and technological characteristics of electronic artworks will highlight the key questions that conservators and archivists are dealing with in this field – including respect for the integrity of the work, for the artist’s intent and intellectual property, strategies for dealing with technological obsolescence and decay, metadata and documentation models. In my presentation, i will elaborate on a selection of approaches that address these challenges fro m a variety of backgrounds and perspectives.
Sandra Fauconnier is an art historian with a firm interest in networked technologies. During the past six years, she has worked as an archivist for V2_, Institute for the Unstable Media in Rotterdam, where she has been involved in the creation and maintenance of a database with documentation of electronic art production and presentation. In this context, she has co-developed a description model for the documentation of technology-based arts and has created several terminology resources (including a thesaurus). She has also worked on various research projects about issues such as copyright, documentation strategies for electronic art, and archival interoperability. Sandra Fauconnier is also part-time researcher at the Jan van Eyck Academie in Maastricht (2006-07), where she researches the design process of participatory websites.