Description
The Contemporary Artistic Fabrication week programme will take place from the 20th to the 24th of June.This set of workshops, led by artists and developers with a strong connection to the contemporary artistic practice and curatorship.
June 20
with Mariana Pestana
Empatia mais que humana
Open Class
10:30 – 13:00
Reflections on the 5th Istanbul Design Biennial
We live in a time of extreme complexity. Despite going through a serious and undeniable climate crisis, we can't seem to imagine the world any other way. Our ideas of comfort and progress are incompatible with the necessary changes we need to make to overcome this crisis.
How can we re-assess notions of comfort, progress, and development in order to ensure a just future for humanity? What is at stake is a cultural transformation. A transformation that is governed by values like affection, and actions like caring.
Tutorial and discussion session on doctoral students' projects
(only for doctoral students)
14:30 – 18:00
Bio:
Mariana Pestana (1982) is an architect and researcher. PhD in Architecture from Bartlett School of Architecture (2019), she creates cultural programs such as exhibitions, events and installations and among them The Future Starts Here (V&A, 2018) and Eco Visionaries (Maat, Royal Academy and Matadero, 2018-19) or the 5th Istanbul Design Biennial (2020-21). She is co-founder and director of the interdisciplinary studio The Decorators and Guest Assistant Professor at Instituto Superior Técnico in Lisbon.
https://marianapestana.com/
21&22 June
with André Rangel
Matrix’s Potential for Designing and Fabrication of Digital Intermedia Artefacts
June 21st 9:30 – 13:00, 14.00 – 19.00
June 22nd 10:00- 13:00
During the workshop, students will be invited and guided in exploring the advantages of intermedia thinking and practice in the design and execution of new digital artefacts. Computer programming languages are an excellent syntax to integrate the intermedia dynamics and reinforce media equity, this because the binary representation of information on different media is equal and can be modulated homogeneously. The binary representation of sound, image, temperature or movement is exactly the same thing: binary data. The digital code makes all media fluid and can blur the boundaries between them. The workshop will focus on the jit.matrix object, part of the programming environment Max, exploring it as an interaction tool between computational functionalities for synthesis and processing of audiovisuals.
André Rangel, 1971. Artist and Designer. Conceives and produces contemporary events in the field of practice and thought, as means of artistic expression. He has been developing and disseminating knowledge and skills inherent to the process of making and experiencing intermedia, interactive and multi-sensory artworks. Holds a PhD in Science and Technology of the Art, a Master in Digital Arts and a degree in Communication Design. Is Assistant professor at Fine Arts Faculty of Porto University, Integrated Researcher at CITAR – Research Center Research Center for Science and Technology of the Arts – and collaborates with i2ADS – Research Institute in Art Design and Society. Director and founder of the studio http://3kta.net, co-organizer and co-founder of xCoAx – International Conference on Computing, Communication, Aesthetics and X.
http://andrerangel.pt
23 & 24 June
with Pierce Warnecke
Decay as a de/re/process
June 22nd 14.00 – 19.00
June 23nd 9:30 – 13:00, 14.00 – 19.00
Brief Synopsis
Decay is a constant of almost everything around us: languages, relationships, societies, ecosystems, mountains, planets and particles (the living, the inanimate, and the intangible). In this workshop we will look at decay as an artistic (de)process to deconstruct media, material and concepts in a counter-productivist mindset diametrically opposed to the tired idea of constant exponential growth.
We will create our own means of decay using both analog (material) and digital (code) methods, either modeling natural processes or inventing our own through addition and subtraction of noise, silence and anything in between. The original sources (objects, images, sounds) lose much of their literal meanings and appear to us as future relics displaced back in time, creating a subtly speculative context to examine. We will then proceed with a kind of sci-fi scrying to try and understand how these anachronistic artifacts might inform us of our situation today, by re-processing them into a group presentation form (concert, installation, etc).
Brief Bio
Pierce Warnecke is a multidisciplinary digital artist. His work, on the border between experimental music, digital arts and video art, is influenced by the observation of the effects of time on matter: modification, deterioration and disappearance. He frequently collaborates with artists such as Frank Bretschneider, Matthew Biederman, and Keith Fullerton Whitman among others. He has presented his work in the form of performances, concerts and installations at MUTEK, ZKM, CTM, IRCAM, Elektra, KW Institut, La Biennale NEMO, Sonic Acts, Martin Gropius Bau, MAC Montreal, Scopitone, LEV Festival, SXSW, FILE, etc. Between 2017 and 2019 he composed several audiovisual pieces for the Institute for Sound and Music’s Hexadome project in Berlin, San Francisco, Montreal and more. His music has been published on raster-media (DE) and Room40 (AU), and he is represented by DISK Agency in Berlin.
| Period | 2022 |
|---|---|
| Event type | Workshop |
| Location | Porto, PortugalShow on map |