Archivo de la etiqueta: Ivan Esquivel

Interferences International Electronic Art Festival at Belfort – Perú PER Muta (a liquid voice, pour’d over thy mountains)

Interferences

International Electronic Art Festival at Belfort

Organized manifestation held inside the Nuit Savoreuses, Belfort, France.

December 14th – 20th, 2000.

 

 

Participating project from Perú:

      Perú PER Muta

(a liquid voice, pour’d over thy mountains)

Alta Tecnología Andina, Perú

 

Curated by:

José-Carlos Mariátegui

Carlos Letts

 

This project presents a general overview of the alternative artistic works done in Perú in the last three years. Since 1998, on the occasion of the 2nd International Video Art Festival held in Lima, Perú, new artistic proposals are being frequently created using new technologies.

 

“Perú PER Muta” is made of selected works specially prepared by Peruvian artists that have been developing themselves in electronic art, and by others who use it as a support for mediated dissertations.

 

Different artists from different generations and activities have been chosen. All of them use electronic arts as a creative tool for developing new Peruvian ideas and thoughts.

 

The project is divided in a Peruvian Video Art Selection projection (75 min) and 5 artistic proposals to be installed at the Interferences Festival.

 

 

Peruvian Video Art Selection (1998 – 2000)

(video projection, aprox. 75 min.)

 

This Peruvian video art anthology tries to show the relevance of this media in Perú, as a new way to broaden and extend in the creative universe, against the traditional artistic proposals that made Peruvian art a useless attempt regarding our social context. For the selected artists, video and non-traditional media are shaping the way to free themselves and provides a unique opportunity to express their thoughts, to represent their very own perception of reality. Electronic art in Perú, in it’s initial stage, can be defined as the new creative metaphor recognizable with the mass, the young Peruvian audience, an audience which looks forward to a chance of expressing in harmony with their reality.

 

This video presentation will include a projection of selected works from Rafael Besaccia, Angie Bonino, Eduardo Villanes, Iván Esquivel, Roger Atasi, Fernando Gutiérrez, Arias & Aragón, Darya von Berner / Aguaitones, Delia Ackerman, Alvaro Zavala, among others.

 

 

Artistic Proposals

5 video installations proposals

organized by ATA and Peruvian artists

 

 

 

 

Iván Esquivel

Title of the Project: “can yo_ h_ar m_?”

Video Installation

 

Concept

According to the dictionary, the term “interference” can be defined as a “perturbation on the reception of radiophonic emissions because of superposition of two different wavelengths”, in few words means perturbation in the reception of emissions from a source. We are talking about altering a message (information) between two points, where the transmitter, the message and the receiver are present. In case any of these components is missing, we couldn’t be able to talk about any kind of emission. When the elements are present in this circuit and nothing interferes between the transmitter and the receiver (which will imply a misdecodification of the message), we could affirm that a successful communication is taking place.

 

There are several ways to “interfere”: A TV show with no audio signal, a website that never gets to download completely because of several problems, or a telephone conversation in which a third party never answers, are all forms of interferences. But these interferences are not something recently discovered with the sudden lift off of telecommunications: there have always been interferences; everytime we talk about internet, TV or telephony, we’re not talking anything else but of communications, of information transmitted between two or more points.  In this level is that the generation of interferences gets interesting, because since it is a basic communication scheme, it’s possible then to apply it to any media.

 

Technical requirements

–       A small, closed, dark space, that doesn’t let the audio get involved or mixed with sounds from other works and spaces.

–       3 14” or 21” color TV sets.

–       3 Video Tape Reproducers

–       3 TV bases

 

* The audio will come separately from each TV set.

 

 

 

Biography

Iván Esquivel, (1971) Exhibits in various collective expositions since 1991, used the name ‘Plaztikk’ since beginnings of 1998.  Studied Art at the Pontificia Universidad Catolica del Peru, continuing his career through professional photography and graphic design.  His interest in electronic manipulation began in 1995; in 1997 developed his first web site and in 1998 produced the video clip ‘number’, that has been shown regularly at MTV.  He develops his works mainly as installations and electronic media.  Currently he is developing a cartoon and an interactive program of electronic music. His website is http://www.plaztikk.com/

 

 

 

Iván Esquivel


Roger Atasi

Title of the Project: “Covers / Portraits”

Video Installation

 

Concept

Our urban space (Lima), surrounded by a social reality (Perú), where after an aggressive social climate (terrorism), with a current government crisis, where fear is still hanging around, only remains as a space open to development, and this has many forms; here comes the particular existence of the ‘creole’ factor (creativeness), with a huge extension for the “resourceability”.

I do not take the common citizen –I truly don’t know what this is-; what I know is what he has learned from a TV Set, from a game console, complementing his studies. Now is when he must be something, someone, in gender and in number; everyone is asked to be part of something: you’re here for something (what about being here just like a passer-by?)

To be, being, being part of… he only wants to watch. But not everything is perfect, and finding obstacles and censorship is not what he likes, and what if he doesn’t need to be in touch with anybody? So he must have information and access to it, but he’s restricted, we must fight for aperture. But the enemy is big.

He needs help; although not alone, he thought he was.

 

Technical requirements

–       4 color 5” TV sets.

–       2m x 3m panel (aprox.)

–       Adhesive paper (for some words)

–       4 VHS

–       4 earphones

–       4 neon tubes (the thinnest possible ones).

 

Note:

I need information about the possibility of using unused industrial material, for example, car parts or some kind of metallic unused material.

 

 

Biography

Roger Atasi (Lima, 1976).  Studied Fashion Design at Geraldine Fashion Design School (1993) and art at the National Art School, from march through august, 1993; besides, Roger has taken place in several painting and sculpture workshops in the art museum in 1993 and 1994. After that, he went in 1995 to the Autonomous Art School, and participated in some literature, photography and film direction seminars. He has shown his works at the 2nd, 3rd and 4th International Video Art Festivals in Lima, Perú (1998-2000); in the collective exhibition “Non Places Geography” at the Spanish Cultural Center (February, 1998); collaboration with the French artist Olivier Agid in RADIO IMAGE (November, 1998); again at the Spanish Cultural Center, he presented the video installation “KILLING FOR LIVING” in the exhibition “Yohny for Sale” (march, 1999) and in “VOLATILE BODIES”, part of “The (CH) Solitude Maze” Project (April, 1999).

 

 

 

 

 

Roger Atasi


Angie Bonino

Project Title: “Feet on the Ground”

Video Installation

Concept

This work tries to question the “free” information offering, uncontextualized and alienated information to which we are subdued inside the global interconnection frame.

 

Description

People will participate of this project by walking into a room where they’ll have to open their way through the pneumatic spheres to an exit. The spheres will receive the projection of video (images taken from TV and the Internet).  The video images will be mounted one over the other, generating a kind of ‘information noise’. To get out of the room the people will need to move around the pneumatic spheres (since they have images projected on them, the distribution of the information will be modified).  The panels are needed to help the pneumatic spheres not to get out of the room.

 

Technical Requirements

–       4 Video Projectors

–       4 VTRs

–       40 pneumatic spheres (provided by the artist)

–       7 – 8 m2 closed space, with two entries (in & out); dark, if possible.

–       Racks or supports for the projectors, which will be mounted perpendicular to and above the ground.

–       2 panels of 90 cm2 for both entries, to prevent the the pneumatic spheres to get out of the room.

 


Biography

Angie Bonino (Lima, 1974).  Peruvian visual artist.  Studies at the Escuela Nacional de Bellas Artes del Perú. Work in painting, video, installations and graphic design. Among his most interesting exhibitions are the following: “Esquemas”, individual exhibition at the Marc Chagall gallery, Peruvian-Russian cultural center, Lima (1997); “Cuestión de Fé”, installation at the collective exposition “Recintos”, at the Museo de Arte Contemporáneo del Cuzco (1997); “El Túnel del Paroxismo”, installation at the collective exposition “Ultima Función”, at the Casa Museo José Carlos Mariátegui (1997): “Retrospectiva de Relleno Plástico”, individual exhibition at Universidad Nacional Mayor de San Marcos School of Art Gallery, Lima (1998); “STAND-ART”, installation at the collective exposition “Johny se Vende/imágenes y documentos acerca de Gamarra”, at the Cultural Center of Spain-AECI, Lima (1999).  Has also participated at the 3rd and 4th International Video Art Festival of Lima (1999, 2000) and at the 6th Latin-American Video Festival, Rosario, Argentina (1999).

 

 

Angie Bonino

 

 

Max Hernandez

Title of the Project: Relay/Breakdown”

Video Installation

 

Concept

The “Relay/Breakdown” Project takes as it’s starting point the conception of an unexpected (frequently traumatic) event that pierces the surface of quotidian life as an interference on our vital experience, although it is assimilated to it. To approach this issue of the surface of daily life as always on the verge of breaking up, or already broken, the work employs real time as a way of interwining with the quotidian. On one hand a video camera registers the daily activity of the town (it will be installed outdoors, on a high transit area) and on the other hand, a computer connected to the web will access different pages that register and document events that signify a breaking of common experience for its participants (ranging from accidents to violent events, private and public, individual and communal). In a closed environment a multimedia projector connected both to the computer and the camera will project randomly the input that comes from both sources.

Technical Requirements

–       Video Camera

–       Computer connected to the internet with video output

–       Video Projector

–       6 – 8 m2 closed space

 

 

Biography

Max Hernandez Calvo (London, 1969).  Arts Faculty,  Pontificia Universidad Católica del Perú. Solo Shows: Forum Gallery “Teenage Heaven” 1997; Forum Gallery “The Gap” 2000.  Events: International Lima Festivals; I Bienal Iberoamericana de Lima; I Bienal Nacional; Fiestas Julianas, La Paz, Bolivia.  He is actually a practicing artist and writer, and teaches art theory at two local schools (PUC and Corriente Alterna).

 

 

Max Hernández

 

 

Carlos Runcie Tanaka

Title of the Project: Limit Zones”

Video Installation

 

Concept

Landmarks of Information:                  – Appropriation

– Exchange

– Devolution (questions / answers)

 

The Habitat – the crab that digs into tunnels in the sand, to position itself in a more humid zone, always between water and earth.

 

The Perimeter – the constant flow of water-earth, “the waves of the memory”

 

The Activity – the action of food ingestion (education?) afterwards returned in the shape of small spheres (knowledge spheres); the act of pleasure (the crab’s own alimentation)

 

Hand – Head / Brain – Heart

 

Act

Thinking

Feeling

 

Action

Meditation

Impulse

 

The Eyes

 

Visualization of contour

Look further than looking

 

 

Technical Requirements

The space is seized with a clay element worked in situ and complemented with a video projection.

Approximate Working Area: 5 x 12 m2

Location: variable (preferring on a covered exterior)

Elements needed:        Mud – Clay – Water

3 video projectors

Transparent plastic (for covering)

Red cinnabar pigment

Light equipment

 

 

 

 

 

Biography

 

Carlos Runcie Tanaka (Lima, 1958). Studied pottery at “El Pinguino” workshop in 1978.  He was then invited by Master Potter Tsukimura Masahiko to work as his apprentice in Ogaya, Japan (1979), and later went to Mashiko as a guest assistant to Master Shimaoka Tatsuzo. From November 1981 to April 1982 continued studies in Florence, Italy, with a grant from the Organization of American States (OAS). In 1986 he was given another grant form the OAS to study crafts design in Brasilia, Brazil. In 1989 Runcie held an individual exhibit at the OAS Museum of Modern Art of Latin America in Washington D.C. and in 1990 had another one at the Centro Cultural de la Municipalidad de Miraflores, an important exhibiting space in Lima, Peru. In 1991 he received the “Ciudad de Mexico” Scholarship, representing Perú at the IV Havana Biennial in Cuba. In 1994 held the “Displacements: Spatial Images of Discontinuous Traditions” Exhibition held in the Museo de la Nación, Lima, Perú. “Displacements” was a multimedia installation which focused on ceramic objects as a mean to achieve a linkage between these two cultural driving forces, immigrant and native. The crabs recollected at Cerro Azul (130 kms. south of Lima) became the leit motif of the exhibit, representing the circular experience of movement, stillness, life and death. During 1996, Runcie took part in “La Espera” (The Wait), an installation shown at ARCO 1997, Madrid, Spain. In august 1997 he exhibited “La Cuenta del Cangrejo” at the Museo de Arte Contemporaneo, Santiago de Chile, Chile. “Tiempo Detenido” (“Standstill”) is his latest work Shown at the I Bienal Iberoamericana de Lima in 1997.

 

 

 

Carlos Runcie Tanaka

 

About the Curators

 

Carlos Letts

(Lima, 1977). Poet, photographer and sensorial designer.  His recent participation at the 3rd and 4th International Video Art Festival in Lima as part of the organizing committee led him to explore the vast fields of video-creation. As Cultural Coordinator of ATA he has been involved in artistic activism in alternative areas of knowledge, as well as the development of over 30 productions in cooperation with Peruvian and international artists. At present, studying at the Communications faculty of the Universidad de Lima, his interests in the career develop in the forms of filmmaking and journalism. He has published several poems in local literature magazines. His next project talks about the future nostalgy of a constant feedback to the 80s decade.

 

José-Carlos Mariátegui

Peruvian.  Born in Lima, Peru.  Studies of Biology and Computer Science at Cayetano Heredia University, Faculty of Sciences and Philosophy (Lima). President of Alta Tecnología Andina (ATA), non-profit organization dedicated to the development and research of artistic and scientific theories.  Director of Memorial Museum Mariátegui (his grandfather and a Latin-American Marxist thinker) of the National Institute of Culture.  Resident at the CICV Centre de Recherche Pierre Schaeffer Montbeliard Belfort, Hérimoncourt (France). Member of the Scientific Though and Philosophy of Science Program, directed by Dr. Alberto Cordero, Cayetano Heredia University (Lima).  Coordinator of numerous expositions and symposiums in Peru. General Coordinator of the International Video Art Festival in Lima (since 1998).  Teaches the courses: “History of Computers”, “Multimedia: The art of communication in the modern age” co-organized by ATA and Cayetano Heredia University (Lima) and “The virtual museum” at Ricardo Palma University Postgraduate Museology Program.  Beta tester, producer and developer of multimedia programs and web sitesCo-creator of “Tupac Amauta”, VideoPoemOpera by Gianni Toti in co-production with the CICV (France).  Recent conferences include: Festival de la Vallée des Terres Blanches (France, 1997), III Latin American Congress of Humanities (Costa Rica, 1997), Isea Revolution Symposium (Liverpool, 1998), Invençao: thinking the next millennium (Sao Paulo, 1999), Biota 3, Third International Conference on Cyber Biology (California, 1999).  Member of several committees on virtual reality, interaction and Visual Computing. His more recent publication is “Techno-revolution: False evolution?” (Third Text, n. 47, London, 1999).

 

The Meaning of ATA

Alta Tecnología Andina (Aloft Andean Technology) is a non-profit organization created to collaborate with the formative aspect of those who are going to be activators of creative intelligence, of inventions, of the new origins of a humanizing and re-naturalizing world. By this means we would cover all fields in human activity, with the development of techniques and loggias in the production of goods and services in every sector of the economy, as well as the development and growth of the applied scientific investigation. This will contribute with the re-evolution of the world and Perú within the planet.