ARTica Contemporary Art

May 24th, 2016 We inform all the artists that have submitted their works to the 10th edition of ARTICA that submissions are now closed and that in the next few days we'll start the selection process. We would like to thank you all for the amazing response to our call: selected participants will be notified via email of their status of acceptance by the end of the current month.

ARTICA is accepting submissions from both Artists and Curators from the international scene. We seek artists whose works provoke thought, reaction and engagement on visual, audible and conceptual levels, and are capable of revealing the polyedric and many sidedness nature of Contemporariness.
ARTICA aims to give birth to a unique point of convergence for a growing international community of artists from various disciplines and to create an effective platform for emerging curators and artists to experiment and exchange ideas.

International artists and curators are welcomed to submit proposals and artworks in all mediums: in particular, ARTICA calls upon all those who have an interest in singular practices which sporadically appear in the art world and reject art as it is commonly practiced. We aim to encouraging artists to innovate and create, and especially to establish a deep relation with the audience.

SUBMIT YOUR ARTWORKS

Coming soon To celebrate our 10th edition we have prepared two special issues in which we had the chance to interview 9 artists from the international scene whose works unveil the ubiquitous combination between conceptual and socio politicised practice, giving birth to a stimulating mix of pure art and deep social engagement.

Their refined multidisciplinary approaches give life to an incessant process of recontextualization, that provides the viewers of an extension ofthe basic human perception, in order to manipulate it, releasing it from its mostprimordial, limbic parameters.

Overtly playing with the unheimlich nature of gestural movements and sound, as well as traditional brushstrokes and photography, their pieces reveal the tendency to exist in continuum, residing somewhere in our collective memory.

We are particularly pleased to introduce our readers to their multifaceted artistic productions.

Focus A Scanner, Darkly: On Andrea Crespo's "Polymorphoses", by Anton Haugen

In futurist Ray Kurzweil's early version of the flatbed scanner, angled mirrors feed the image of a document through a series of encoding CCDs. Similarly positioned mirrors are also used in the treatment of amputee victims; the image of an extant limb is projected onto the phantom limb, allowing the patient to engage with this limb's sensory map. Constantly reflecting on this imagery, Andrea Crespo's recent solo show "polymorphoses" at Hester in New York evokes an environment of clinical intimacy in its aesthetic and conceptual coherence. Similar to an LED screen or scanner, the digital prints on the four poly voile curtains covering the windows are backlit by the sun.

Positioned in front of these curtains, an EMDR light bar (used by cognitive therapists to treat post-traumatic stress disorder) replicates a scanner's mobile light in the sculpture polymist: echolalic transponder; its accompanying soundtrack abstracts the diegetic sound of this light's kinetics as low digital tones. read the complete article

Focus The Flash Artists who Cybersquatted the Whitney Biennial, by Lucas G. Pinhero (Rhizome)

One story of whitneybiennial.com opens at the ElectronicOrphanage (EO) in Chinatown, Los Angeles. Founded in 2001 by artists Miltos Manetas and Mai Ueda, the now-defunct EO was once a small artist-run project space on Chung King Road, a pedestrian pathway dense with independent galleries and studios.

Until its demise in 2004, the "Orphanage" remained a stark black cube, completely barren if not for a white screen where digital art was occasionally projected, typically when neighboring galleries hosted opening receptions over drinks. For the most part, the space was a kind of laboratory for a group of artists, curators, and critics with a shared interest in the computer and digital culture—the "Orphans."

It was here, sometime in February 2002, that a plot to cybersquat the Whitney Biennial began to take shape. Or at least this is how Manetas, the project’s architect, remembers it.

FOCUS Why (and how) our museum started collecting Vines

The 2015-16 English premiere league season kicks off on Saturday, and the National Football Museum will be collecting fan-made archives throughout the season using Webrecorder Beta. Links to the original Vines are included in the captions, and the archived Vines can be seen in context in NFM's Webrecorder collection. Museums which include contemporary popular culture in their remit have always had to make difficult choices with respect to what they can collect, as so much of the story they seek to tell is happening in the immediate present. With Vines, this is complicated by the fact that the interaction that plays out as a "Vine" is shared and circulated and this activity can be as important as the video clip itself.

Event Calder Foundation, New York, NY, USA

Discover the genius behind kinetic sculpture with Alexander Calder: Performing Sculpture at Tate Modern.
This exhibition brings together some of Calder's most important creations from museums around the world, showing how motion, performance and even theatrics helped to establish Calder as one of modernism's key figures.

Related events Earle Brown’s Calder Piece and Alexander Calder’s Chef d’orchestre
Tuesday 10 November 18.30–20.00, 20.30–22.00 and Sunday 15 November, 2015 18.30–20.00

http://issuu.com/articulaction/docs/articulaction_art_review_-_february_ed96dc8ce8f00c

Focus EITHER WE INSPIRE OR WE EXPIRE: New work by Liam Gillick and Nate Silver (Michael Connor, Rhizome)

EITHER WE INSPIRE OR WE EXPIRE (2015) by artist Liam Gillick and data journalist Nate Silver considers technological failure and its lack of visibility in a society obsessed with success. Created as part of Rhizome'’s Seven on Seven conference, which convenes leading artists and technologists for high-level collaborations, this web-based project draws on a selection of words handpicked by Gillick and Silver—such as THE .COM FOR MOMS, ASSASSIN VAPORS, DRONE CON, and WRAPIPEDIA—from a database of inactive trademark applications.
Gillick and Silver embarked on the project by taking one of the questions commonly addressed using statistical analysis—How can we reduce risk?—and inverting it, asking instead: How can we guarantee risk? Applying this question to the creative process, Silver observed that our understanding of innovation suffers from "sample bias": we have a distorted perception of the success rate of new ideas because only the successful ones, or the ones that change the game or disrupt an industry, are discussed. Thus, failure in creative production and innovation represents a "dark corner" for statisticians.

SPONSORSMajor support for First Look is provided by the Neeson/Edlis Artist Commissions Fund. Additional support is provided by the New York State Council on the Arts and the Toby Devan Lewis Emerging Artists Exhibitions Fund.

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