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Inke Arns
Freelance curator and author specialising in media art, net cultures, Eastern Europe. Her doctoral thesis 'Objects in the Mirror may be Closer Than They Appear', Humboldt University, Berlin, 2004, examines a change of paradigm with regard to the historic avant-garde and to the concept of utopia in (media) art projects of the 1980s and 1990s in former Yugoslavia and Russia. Her publications include Netzkulturen and Neue Slowenische Kunst (both 2002) as well as many essays on media art and net culture. Together with Susanne Ackers she has been Co-director of 'Hartware MedienKunstVerein' in Dortmund since January 2005.
www.hmkv.de
Image to left: Exhibition view,'On Disappearance. Loss of World and Escaping from the World', Hartware MedienKunstVerein in PHOENIX Halle, Dortmund, Germany, August - October 2005. In the foreground: Alice Miceli: 88 from 14.000 (2004), left: Aernout Mik: Middlemen (2001), right: Wolfgang Staehle: Untitled (Sept 18, 2001; 2005); photo: Thomas Wucherpfennig
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Sarah Cook
Sarah Cook is the co-editor of CRUMB (the Curatorial Resource for Upstart Media Bliss – an international website and mailing list) and post-doctoral curator/researcher at the University of Sunderland (in collaboration with BALTIC, the Centre for Contemporary Art, Gateshead, United Kingdom). Her doctorate concerns the theory and practice of curating new media art and she has a master's degree from Bard College's Centre for Curatorial Studies in New York. Sarah has organized exhibitions, commissioned new media art and managed educational projects for BALTIC, Gateshead); Bellevue Art Museum, Seattle; Walker Art Center, Minneapolis; Banff New Media Institute; Reg Vardy Gallery, Sunderland; Locus+, Newcastle; and at the National Gallery of Canada, Ottawa.
www.crumbweb.org
Image to left: Exhibition view,'Package Holiday', BALTIC, 2005. Curated by Sarah Cook. Photo: Colin Davidson
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Pierre-Yves Desaive
Pierre-Yves Desaive is an art historian and art critic, whose interests lie in the relationships between computers and the art world – both in a creative (digital art, net art) and a museological (creation of databases for art collections, digitizing) perspective. He graduated in History of Art from the University of Liège, Belgium, and also earned a complementary degree in computer sciences applied to human sciences. After working as an assistant at the Artistic Collections of the University of Liège, he joined the staff of the Royal Museums of Fine Arts of Belgium in Brussels as a researcher. In collaboration with the Getty Institute, he conceived the structure of the institution’s multilingual online catalogue, that was implemented in a post relational online database. He is currently in charge of supervising the digitization of the Museums’ collections, and work as a curator for the Modern and Contemporary Art departement. He is working on a Ph. D. thesis on the relationships between digital arts and the new museology.
Member of the International Association of Art Critics (AICA), he regulary publishes articles on contemporary art for various magazines (including Contemporary for which he is the Brussels editor), catalogues or galleries. He recently worked with Vanessa Quang Galley (Paris) for a show by technical artists Helen Evans and Heiko Hansen (HeHe.org), with a written contribution that focused on their concept of Reverse Cultural Engineering. Further contributions will include the creation of one of their large scale projects for public space in Brussels. His recent articles include a review of Angela Bulloch’s exhibition at De Pont Foundation in Tillburg (The Netherlands), a text for the Panamarenko retrospective in Brussels, and a critic of the International Belgium Video Art Biennal. His coming article for the magazine of ICOM’s Belgian section will be on how 'classic' Fine Arts museums are dealing with new media art. Another text will focus on the emergence of new forms of Outsider Art (in the sense of Dubuffet’s Art Brut) in the field of technological art.
www.fine-arts-museum.be
Image to left: digital photomontage used in flyer for 'Helen Evans and Heiko Hansen : Intoxication', project for Vanessa Quang Gallery, Paris (2006)'
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Lina Dzuverovic
Lina Dzuverovic is co-founder of Electra, a London-based contemporary art agency, specialising in new collaborations across sound art, moving image, music and the visual arts. Formerly Lina was New Media Curator at London's Institute of Contemporary Arts and prior to this she worked for The Wire Magazine, Mute Magazine, The Lux Centre for Film, Video and Digital Art and the Pandaemonium Festival Of The Moving Image. Selected exhibitions and events include Her Noise, Perfect Partner, (both co-curated with Anne Hilde Neset), Electric Weekend, Once Seen: British Video Programme for The British Council (shown in Oslo and Tromso, Norway); WhatDoYouWantToDoWithIt? Festival and the ICA new media exhibition and event programme during 2003; Interference series at the Lux Centre; Luxsquat: irational.org at the Lux Gallery; Tech_nicks touring exhibition; New Media Exhibitions for the Pandaemonium Festival 1999 and 2001. Lina also regularly writes for contemporary art and music magazines and her writing has appeared in magazines including Artforum, Contemporary, Mute, The Wire and Res Magazine.
www.electra-productions.com
Image to left: Installation view, 'Her Noise' Exhibition, South London Gallery, London, November 2005, Produced by Electra Photo: Marcus Leith
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Charlie Gere
Charlie Gere is Reader in New Media Research at the Institute for Cultural Research, Lancaster University. Before joining Lancaster, Charlie was Lecturer in Digital Art History in the School of History of Art, Film and Visual Media at Birkbeck College, University of London, for seven years, where he ran the MA Digital Art History. He is chair of the group Computers and the History of Art (CHArt) and Director of the AHRB-funded Computer Arts, Contexts, Histories etcÖ (CACHe) project at Birkbeck.
His main research interest is in the cultural effects and meanings of technology and media, particularly in relation to art and philosophy. His current book project, Art, Time and Technology (to be published by Berg in April), concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called 'real-time' digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-FranÁois Lyotard and AndrÈ Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.
www.lancs.ac.uk/fss/cultres
Image to left: Cover of 'Art, Time and Technology' by Charlie Gere, published by Berg Books, 2006
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Stephen Kovats
Canadian born architect and media researcher Stephen Kovats spent a decade upon German unification designing and establishing media art and culture related programs at the Bauhaus Dessau Foundation. His Studio Electronic Media Interpretation hosted numerous international projects, symposia and exhibitions exploring the relationships between media space, political culture and electronic art. In 2000 he published MEDIA " REVOLUTION which wrapped up the "Ostranenie International Electronic Media Forum" series focusing on the role played by media art and culture upon the societal transformation process in Central and Eastern Europe. During this period he founded several media culture oriented exchange and network programs including Archi-Tonomy, EMARE, ECX and the current Bauhauskolleg, a multidisciplinary post graduate program for alternative urban design.
Thereafter, based in New York, he developed work and communications based strategies for mobile media and urban reconstruction projects including the initiation of a new urban masterplan for the Ethiopian capital Addis Ababa. Through his telecommunications projects Aurora Universalis and NOM he has also been active in investigating the spatial structures of terrestrial electromagnetism, communications mobility and technological isolation systems. Currently Kovats is an international media arts program developer at V2_Institute for the Unstable Media in Rotterdam, through which he initiated and co-organised the "Trans-European Picnic 2004: Media and Art of Accession", an event exploring media culture on the edge of the newly expanded European Union, co-curated the DEAF04 event "Affective Turbulence: The Art of Open Systems" and produced "Splendid Immersion: The Time and Space of Flow", an exhibition and seminar on experimental immersive systems for the International Architecture Biennale Rotterdam 2005.
www.v2.nl
Image to left: 'INFRActures: Translations between the Sonic, Spatial and Temporal', December 2005; @ V2_project co-created by Nat Muller and Stephen Kovats featuring STEALTH.[u]ltd, Edwin van der Heide, Cevdet Erek, mxHz.org and Kyong Park. photo: Jan Sprij
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Amanda McDonald Crowley
Amanda McDonald Crowley is Executive Director of Eyebeam arts and technology centre, based in New York. Amanda recently relocated from her native Australia where she has been based while working nationally and throughout Europe and Asia as an arts producer, facilitator, researcher and curator. She has a substantial and international background in media arts, fostering cross-disciplinary practice, collaboration and exchange. "Amanda McDonald Crowley is one of the most accomplished, groundbreaking new media curators and producers anywhere in the world," stated Steve Dietz, Director, ISEA2006 Symposium and ZeroOne San Jose Festival. "Her experience as director of ANAT, as a producer at the Adelaide Festival and ISEA2004 Symposium is a perfect match for the adventuresome, artist-oriented programming that both Amanda and Eyebeam are known for."
Prior to joining Eyebeam, McDonald Crowley served as the Executive Producer of the 2004 International Symposium of Electronic Art (ISEA2004), developing the event from concept to major conferences, exhibitions, performances, concerts and site specific installations on a ferry in the Baltic Sea and locations in Estonia and Finland. In 2002-03 she was an arts worker in residency at Sarai: the New Media Initiative in Delhi, India and was Associate Director for Adelaide Festival 2002. From 1995 to 2000 McDonald Crowley was Director of the Australian Network for Art and Technology (ANAT), an organisation with a national brief to foster links between the arts, sciences and new technology.
www.eyebeam.org
Image to left: LED Throwies, Graffiti Research Lab; photo: fi5e and resistor
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Francis McKee
Francis is is a writer and curator based in Glasgow. He is a lecturer and research fellow at Glasgow School of Art, working on the
development of open source ideologies. Since 2005 he has also been curator of Glasgow International, a festival of contemporary visual art and the interim director of CCA, the Centre for Contemporary Arts. He has curated many exhibitions including This Peaceful War, The Jumex Collection for the first Glasgow International in 2005; Zenomap (together with Kay Pallister), the presentation of new work from Scotland for the Venice Biennale in 2003; Words and Things for the relaunch of CCA in 2001. For the past ten years he has written extensively on the work of artists such as Christine Borland, Ross Sinclair, Douglas Gordon, Simon Starling, Joao Penalva, Kathy Prendergast and Pipilotti Rist. Previously, Francis McKee worked as an historian of medicine for the Wellcome Trust and as Head of Programme at CCA.
www.francismckee.com
Image to left: Installation view, Simon Faithfull's 'Antarctica Dispatches' at CCA, Glasgow, 2005
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Dimitrina Sevova & Alain Kessis
Dimitrina & Alain are Founding Co-Directors of code flow - a collective devoted to the investigation and production of contemporary media art and theory on the basis of cultural practices that resist the market-orientation and the permanence of modern institutions. To paraphrase Roland Barthes, the goal of code flow is to make codes ‘dance’ rather than attempting to destroy them. Most recently code flow has collaborated with Art Today Association to curate and produce the international festival "Critique of Pure Image - Between Fake and Quotation" at CCA, Plovdiv and participated in "Polyphony - Collaborative Practices", at Shedhalle, Zurich. Their earlier projects include the co-editing and publishing of konsequenZ and Communication Front 2000 books. Born in 1971 in Varna, Bulgaria, Dimitrina graduated from the National Academy of Arts in Sofia in 1997. Since 2002 she has been based in Zurich working alongside Alain whose main interests include media activism and theory.
www.code-flow.net
Image to left: Archive photograph used in poster for 'Critique of Pure Image - Between Fake and Quotation', an international exhibition and theoretical symposium in Plovdiv, Bulgaria, October 2005.
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Trebor Scholz
Trebor Scholz is an artist, media theorist, activist, and organiser. Trebor grew up in East Berlin and is currently based in New York. His interests focus on media theory, art and education.
In 2004 he founded the Institute for Distributed Creativity, iDC (www.distributedcreativity.org) which is an independent research network that concentrates on (online) collaboration. In 2005 the Institute organized "Share, Share Widely," the first large conference about media art education (www.newmediaeducation.org) at the CUNY Graduate Center. In April 2004, together with Geert Lovink, he organized the conference Free Cooperation on the art of (online) collaboration, held at SUNY Buffalo (www.freecooperation.org). In 2000 he facilitated the only large scale program immediately responding to the Kosovo War- "Kosov@: Carnival in the Eye of the Storm." (www.intheeyeofthestorm.info/)
Scholz' work has been exhibited at the Venice Biennial (with Martha Rosler/ The Fleas), the Sao Paulo Biennial, FILE (Sao Paolo) and many other venues. He has lectured in the U.S. and internationally at dozens of festivals and conferences including Transmediale (Berlin), ISEA (Helsinki, Tallin), Multimedia Art Asia Pacific Conference (Singapore), Nordic Institute for Contemporary Art (Helsinki, NIFCA), Stanford University, NewMediaNation (Bratislava, Slovakia), Version3 (N5M, Chicago), Tactical Media Lab at New York University, PS1 (Contemporary Art Center New York City), Haute Ecole d'Art (Geneva, Switzerland), University of California Los Angeles, Dartmouth College, Academy of Visual Arts (Leipzig, Germany), San Francisco State University, University of California San Diego, and The School of the Art Institute in Chicago.
Scholz has written on media art, networks, education and participatory cultures for many periodicals such as Art Journal, FibreCulture Journal, Afterimage, and C-Theory. He has contributed essays to several books and co-edited "Free Cooperation: The Art of (Online) Collaboration" forthcoming with Autonomedia. Scholz has taught media art, history, and theory at Pacific NW College of Art (Portland), The University of Arizona (Tucson), and Bauhaus University (Weimar) and is currently professor and researcher in the Department of Media Study at the State University of New York at Buffalo.
www.collectivate.net
Image to left: 'Twenty-Four Dollar Island', a web project to create free, complete, up-to-date and reliable material about Lower Manhattan and to give everybody the chance to share their stories, their histories, or tourist information.
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Simon Worthington
Simon is Co-Director and Publisher, Mute Publishing. He studied at the Slade School, London and CalArts, Valencia, California. As co-director of the Mute organisation he has been involved in a number of projects, including YouAreHere, community mapping/wireless project; Magnet, world wide electronic cultural magazine publishers network; Mute Cartographic Congress, London, a six week long festival; University of Openness, London, a self instituted educational group..
www.metamute.org
Image to left: Cover detail from latest issue of Mute magazine
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