“digital art”

Miguel Chevalier: bits & cells

He’s one of the pioneers in virtual and digital art. He tackles the question of intangibility and computer-led logic. Hybridity, generativeness and networking are at the heart of his research… An hour in the company of Miguel Chevalier, an observer of the flows dear to our contemporary society.   It’s at La Fabrika, his big studio in Ivry-sur-Seine (and so named in homage to another famous studio), that Miguel Chevalier designs his works. All around, you’ll see prototypes, 3D prints, projectors and projections…  This spring, his studio is a hive of activity as he gets set for several solo shows (at the submarine base in Bordeaux and a double event in London, at the Mayor and Wilmotte Galleries). Miguel Chevalier is also taking part in major group exhibitions, namely “Artistes & Robots” at the Grand Palais, and “AI Musiqa” at the Philharmonie de Paris.   The exhibition “Digital Abysses”, recently launched at the submarine base in Bordeaux, with ten installations and a hundred or so works spread out over 3500 square metres, is one of your largest to date… That’s right, this is my biggest exhibition to date. The submarine base is an unusual site, constructed at the end of World War II. I didn’t want to illustrate the memories of the place, but rather, work on the relationship with water and the great depths and abysses in which U-boats plunged. The large printed fabric Atlantide (25 x 9 metres) opens the exhibition, emerging as the floor of the base’s first pool. Then, we arrive at the bunker’s entrance – a spot that’s all the more interesting as it immerses visitors in darkness and comprises numerous spaces on different scales. I drew inspiration from plankton and all sorts of aquatic microorganisms, such as radiolarians and protozoa that are observable...

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Dominique Moulon: About digital-art evolutions

Art critic and exhibition curator, Dominique Moulon specialises in the digital arts and the new media. He is also artistic director of Variation, the fair took place in October in Paris during the Digital Art Week. An interview. What’s your thesis about? It’s called L’art au-delà du numérique. Pratiques numériques plurielles d’un art contemporain singulier (Art beyond the digital. Plural digital practices of a singular contemporary art). The idea is to consider, as Norbert Hilaire does, the “digitality coefficient” of contemporary works, with reference to Marcel Duchamp and his “art coefficient”. Many digital works are in line with art history: in line with kinetic art — whose movement digital work can control — such as video and photography. I also wish to consider the change in scale which we’ve gradually witnessed, if only because today we hold the world in our hands with our smartphones. Works document this mutation and what society has become. I consider the great digital themes which have become themes for contemporary art or society on a wider scale —surveillance for example. The great trends of the 20th century can today be reconsidered through the prism of the digital medium. Finally, there are works that emerge as a consequence of Internet — what we call the “post-Internet” or more widely the “post-digital”. In the 1990s, we experienced a type of virtualisation of the world. Today, we see that artists wish to rematerialize art, the world. This is why we talk of a “new materiality” — we fond of terms in the art world! How did this mutation occur?  In the 1980s, then the 1990s, digital means were still reserved to a happy few and considered a tool — even if I think that it’s more interesting to consider them a medium. The world of art didn’t get...

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Michael Candy, winner of the Prix Cube

The 3rd Prix Cube was awarded on Wednesday 12 April 2016 to Australian artist Michael Candy for Big Dipper. The Prix Cube recognises young international digital art creation by singling out a work by an artist under 36 years exploring the theme of interactivity, generativity, the network or Internet. Big Dipper is a luminous mobile sculpture that presents forms inspired by mechanics and biology. The sculpture is suspended while white neon lights swing, suggestive of the movement of a propeller or wave. Born in 1990 in South Africa, Michael Candy left for Australia in 2000 where he graduated in fine arts and industrial design from the Queensland University of Technology. As winner of the Prix Cube, he succeeds Russian artist ::vtol:: and Matthijs Munnik from the Netherlands. The jury of this third edition was made up of Manuela de Barros, philosopher, Mathieu Baudin, director of the Institut des Futurs Souhaitables, Naziha Mestaoui, digital artist, Manuela Naveau, curator at the museum Ars Electronica, and Thierry Voisin, writer, playwright and exhibition...

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Museums, exhibitions, festivals: digital-art highlights in 2016

On 5 February, Dada is celebrating its 100th birthday. And as only one step separates Dada from data, a few collectives and digital artists are seizing the occasion to question the absurdity of systems and networks, echoing the intellectual and artistic movement that emerged in Zurich in the middle of World War I. To celebrate this centenary, the digital project Dada-Data is diffusing DadaNet live from the Cabaret Voltaire where the Dada movement was born on 5 February 1916. Led by Anita Hugi, author of Sternstunde Kunst and David Dufresne, a web pioneer, this interactive homage is being marked by “public hacktions” and an anti-museum web, with its quirky narration combining Instagram collages, objects printed in 3D, online poetry, virtual reality and references to Dada. Previously, in 2014, French artists Albertine Meunier and Julien Levesque also launched their DataDada manifesto to express “their opposition to the transformation of data as a simple digital act”. Big data, inexhaustible raw materials for artistic creation What we see is more and more artists using and exploring the phenomenal masses of data circulating on the Web. While the phenomenon is not recent since video art and Net art have already widely explored networks, its scope is on the other hand unprecedented. Mutant in nature and hybrid in their modes of expression, digital arts are constantly reinventing themselves, permanently coming and going between intangibility and the physical world. With the emergence of Data Art, artists are going beyond the simple issue of visualising raw data and heading towards a critical representation of the world at the boundary between art and information. Nourished with algorithms, generative artworks are increasingly staking out their place on the landscape of contemporary art. Beyond their aesthetic value, their discourse is often ingrained with a political dimension. Until 10 January,...

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AXA Strategic Ventures invests €500,000 in start-up company Art2M

On 12 October 2015, AXA Strategic Ventures invested €500,000 in Art2M, an art and connected objects platform for collectors and investors. Art2M is a start-up company specialising in mediating between investors who are passionate about digital art and innovative artists who produce connected objects. The €500,000 will intensify the company’s R&D efforts to establish itself overseas, especially in the United States and China. Anne-Cécile Worms, CEO of Art2M said, “This investment will allow Art2M to develop its portfolio of exclusive coproductions (connected objects and innovative design) and to position our new “ArtJaws” selling platform, dedicated to artworks and artists’ limited editions, as a major player on the online art market”. For AXA ART, it will provide a global watch service on connected objects. Minh Q. Tran, General manager of AXA Strategic Ventures observed, The Internet of Things is one of the five sectors in which we intend to invest. Art2M’s approach perfectly meets our needs, as it provides a global watch service on connected objects, while harmoniously integrating the ecosystem of AXA ART, a subsidiary of AXA, on the contemporary art market and in the field of digital art.”  ...

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