Marjan van Mourik
Since 2003
Works in Rotterdam United States of America

Former gallery-owner, the last ten years working as a freelance curator, artpromoter and multimedia designer-artist in the field of netart. The During the years I had an contemporary art gallery my interest moved gradually from paintings to installations and conceptual art.

Then in 1994 the computer entered my life.

The contradiction between limitation on the one hand, unlimited freedom and no physical borders on the other hand, created new impulses and insights to explore the possibilities of the medium. My fascination for this platform was born.

I have travelled a long way obtaining the necessary technical skills,studying and experiecing the do's and the don;ts, preparing and presenting concepts of visual artists for the web. It has now become the art form for myself to express and to tell my story.

The images, the words, the colours, the sounds, the motions, they're all ready there. It is like a palet with paint, a keyboard characters,covered with jpg., gif, wave, MP3,mov., doc. and other files. They're at my disposition and I will put them in a new, different context. They form the remains of my travels trough my mind, the virtual world, the real world and life.

Marjan van Mourik (1958) studied art-history and multimedia.


Will Pappenheimer:


Zurich, Switzerland, Wednesday 12th to Saturday 15th July, 2006

The Digital Art Weeks PROGRAM (DAW06) is concerned with the application of digital technology in the arts. Consisting again this year of symposium, workshops and performances, the program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies in a series of performances, making artists aware of impulses in technology and scientists aware of the possibilities of the application of technology in the arts.


[Kon.[Text]], this year’s Digital Art Weeks SYMPOSIUM focuses on the Performative Surround in the arts and the technology that drives it. The Performative Surround pertains to the immersive quality and quantity of the setting of a performative artwork that employs electronic media enhancement to communicate in part or in whole its message to the viewer, who is therewith integrated into the performative arena by the communicative powers of the applied media. In a series of lectures, demonstrations and panels, artists and researcher will examine the use of electronic media in articulating the performer’s presence through the possibilities of the multi-sensuality of electronic media. The possibilities of blurring the divide between public and performer to bond them through the powers of dissemination and inclusion inherent within the technology behind the performative surround will also be considered as well as how communication between both performer and public can be interactively networked in real time through various forms of computer enhanced dialoging.


To draw a parallel between the symposium’s title [Kon.[Text]] and the phrase “in the body of the text” in terms how both performer and public are virtually networked by the expansion of the real into virtual, issues in media enhanced performance and its ...


C5@ZeroOne_San Jose: C5 Quest for Success

Geri Wittig:

The C5 Quest for Success ­ Call for Participants Enter to play the C5 Quest for Success during the ZeroOne San Jose/ISEA 2006 Symposium August 9-12, 2006

The C5 Quest for Success is an invited project for ZeroOne San Jose: A Global Festival of Art on the Edge. The ZeroOne San Jose Festival will transform San Jose into the North American epicenter of art and digital culture from August 7th to the 13th, showcasing the world's most innovative contemporary artists.

Quest for Success is curatorial selection as urban game, testing competitors¹ analysis, management, and cooperative decision making skills - traits needed for success in Silicon Valley. The grand prize is a six to twelve week residency at the Montalvo Arts Center co-sponsored with C5 and a Silicon Valley corporate partner - a great opportunity for the right player with the right project pitch. Contestants navigate the streets of San Jose exploring GPS controlled narratives in an attempt to locate the C5 Corporate Limo. Once there, you just might have the opportunity to pitch your proposal to a panel of distinguished experts. A single winner from each evening's competition then advances to the final round on Saturday, August 12th. Three finalists representing TALK, DEMO, PERFORM 'present' their pitch live on-stage to an audience of thousands during the ZeroOne San Jose culminating celebration.

Does the smell of gasoline and oil perk you up like caffeine? Do lat and long coordinates make your heart sing? Then apply for a chance to win the Montalvo Arts Center ­ C5 artist residency. Six to twelve weeks in picturesque Saratoga, California, working on the project of your dreams with the assistance of one of Silicon Valley¹s corporate powerhouses. Does mapping make you giddy? Does your imagination swell ...


Beijing Accelerator

Marnix de Nijs is one of my favourite artists. His works are non-pretentious and understandable by anyone. Some of them seem to be inspired by playground attractions (run, motherfucker, run), others that explore our relationships with machines are uncannily compelling (Spatial Sounds or Push/Pull)


Beijing Accelerator clearly belongs to the recreation ground. The inspiration for it came when the artist was visiting Beijing, and realized how quickly the dynamics of a city could transform into such apparent modernism. Similar to an earlier prototype, Panoramic Accelerator, it explores the effects of a tempo-driven society on the individual, this new version has an enhanced cinematographic experience as well as a superior interface.

The participant takes position in a racing-chair on a motorized structure equipped with a joystick. While the participant controls both the direction and speed of the chair, rotating panoramic images are projected on the 160x120 cm screen in front of him/her. The aim is to synchronize the moving image with the rotation of the chair in order to view the images properly and block the disorientation associated with the uncoordinated spinning. If the user cannot synchronize the speed of the chair with the images his balance system will send different information to the brain then the eyes do, causing an intense feeling of discontrol and can eventually lead to nausea.


The target square in the top panoramic image needs to be matched with the same position shown on the magnified image below. As soon as this is achieved the images �¢ï¿½ï¿½snap into place�¢ï¿½ï¿½ and rotate in sync with the participants movement. After a short period of time however, a new rotating-panorama appears with a higher preset speed. This is determined as the next level (there are ...


'Brainmirror' by Adam Somlai-Fischer(hu) Bengt Sjölén(se) and Danil Lundbäck(se)

BrainMirror is an interactive experience where the image of the visitors brain appears mixed with his/her mirror image, using natural head movement as an interface to explore volumetric visuals of the human brain. Designed and built by 3 independent artist and technologist, putting our skills together we aimed for creating an interface that works without learning for all age groups, and fosters communal interaction, interaction among the different visitors.


Jonathan Schipper


"Attempt at an Invisible Sphere," a globe made from 215 cameras and screens, was our first introduction to Jonathan Schipper's work. When we had the chance to visit the Brooklyn-based artist in his studio recently, we got to check out more of the "mechanical paradoxes" that make up Schipper's ouevre and watch him tinker on his latest undertaking, an animatronic sculpture set in motion by a player piano reel of Slayer's "Raining Blood." The piece debuted in a group show that opened last Friday, 23 June 2006, called "Factitious" at Brooklyn's Pierogi Gallery, and will run through 31 July 2006.

Watch now: Quicktime or Podcast (or in our Flash player on the sidebar of the home page)

TAGS: Art, Brooklyn, Conceptual, Cool Hunting Video, Technology,


Discussions (62) Opportunities (10) Events (8) Jobs (0)

52nd International Short Film Festival Oberhausen

52nd International Short Film Festival Oberhausen
4-9 May 2006

MuVi International 2006 - Call for Entries

Extended Deadline: 10 march 2006!

We are looking for music videos with unusual visual conceptions and stories, experimenting with all kinds of visual techniques. Clips that are usually not shown on conventional music channels - no matter what kind of musical genre.

The works should be produced after 1st January 2005.

Please send a viewing copy or show reel (no excerpts!) on VHS, DVD or BETA SP PAL with the most important indications (director, production company, year of production, label) to the following address:

International Short Film Festival Oberhausen
Jessica Manstetten
Grillostr. 34
46045 Oberhausen

Looking forward to your entries!

For further infos please have a look at our homepage:

or contact me:

Jessica Manstetten
MuVi Award / MuVi International

Internationale Kurzfilmtage Oberhausen gGmbH
International Short Film Festival Oberhausen
Grillostr. 34
46045 Oberhausen
Tel +49(0)208 825 3058
Fax +49(0)208 825 5413


V I D E O G R A F I A S I N ( V I S I B L E S )

V I D E O G R A F I A S I N ( V I S I B L E S )
[ (In)visible Videographies ]
A selection of recent video art from America Latina (2000


CULTURETV News and Playlist

Watch the new videos, read the article (the Guardian) about the exhibition of the Russian artist Andrei Molodkin, who says "I started to understand that in our world we don't have any ideology, we have only economics". This week spotlight is on Operation CNTRCPY





Robotic Arts, Inflatable Aestheticism is a project comprising exhibition, workshop, and presentations by Chico MaMurtrie, one of the world's leading artists using robotic technologies.
Chico MacMurtrie - born in New Mexico and now residing in New York - is the Artistic Director of Amorphic Robot Works (ARW). Formed in 1992, ARW is a group of artists, engineers and technicians working together to create robotic performances and installations. Chico MacMurtrie describes his vision, "The work is an ongoing endeavor to uncover the primacy of movement and sound. Each machine is inspired or influenced, both, by modern society, and what I physically experience and sense. The whole of this input informs my ideas and work."

Since its establishment, Amorphic Robot Works has investigated the nature of movement via the creation of multi-faceted machine-sculptures that play and interact in their uniquely designed environments. This artistic program has resulted in the creation of more than 250 mechanical sculptures of varying size, that assume anthropomorphic and abstract forms.
One of the hallmark aspects of ARW's work is its direct contact with the audience. Rarely does the work appear on stage, behind ropes or behind glass. As the audience for the work has grown in size, so has the work itself. To make performances visible, and yet still physically accessible to the audience, the work has been erected and performed upon integrated sculptures of increasing height. A new generation of permanent work from ARW will completely eliminate the metal and thus, the physically and logistically cumbersome weight. Humanoid forms will arise from high-tensile inflatable fabric skeletons, formless until air inflates the bones. The possibilities for range and kind of movement, are as broad as that for muscle and bone, but with little of the mass. This new generation of interactive performance sculpture from ARW allows not only for a broader exhibition base, but an interesting new robotic form that does not conform to the standard conception of either 'robotic' forms or the existing understanding of kinetic sculpture.
3-19 March: 10-5 Daily; 21 March-8 April: 11-5 Tues-Fri; 2-5 Sat; Admission Free

The Robotic Arts Workshop will serve as a practical and theoretical platform for the creation of new generations of robotic sculpture and installation, developed by Chico MacMurtrie and Amorphic Robot Works. The event will urge the creation of robotic arts by Australian artists, as it provides hands-on exploration of robotic technologies. Drawn from national registration, artists and robot makers will assist in the building of the robotic structures for the exhibition.
24 February-7 March. Registrations closed.

4-6pm Monday 6 March: Public lecture, Mercury Cinema, Lion Arts Centre, 13 Morphett Street, Adelaide
10.30am-12.30pm Tuesday 7 March: Artists' Week panel discussion "Emerging Fields" Elder Hall, University of Adelaide

A comprehensive catalogue with information about the project will be available.

Contact Experimental Art Foundation Director and Curator of ROBOTIC ARTS, INFLATABLE AESTHETICISM: Melentie Pandilovski: +61 (0)8 8311 7505.

EXPERIMENTAL ART FOUNDATION curates its exhibition program to represent new work that expands current debates and ideas in contemporary visual art. The EAF incorporates a gallery space, bookshop and artists studios.

Lion Arts Centre North Terrace at Morphett Street Adelaide * PO Box 8091 Station Arcade South Australia 5000 * Tel: +618 8211 7505 * Fax +618 8211 7323 * * Bookshop: * * Director: Melentie Pandilovski



International Symposium on Curating New Media Art
Liverpool School of Art & Design and FACT Centre
30 March - 1 April 2006

Early bird registration offer ends on 17th March.
Register now and save 35% on the full registration fee.
Further programme details and online registration:

New media art is a global phenomenon: a rapidly changing and dynamic field of creative practice which crosses conventional categories and disciplinary boundaries, challenging our assumptions about art.

- How do curators engage with new media art?
- What makes a good curator of new media art?
- What can we learn from the pioneers of this field?
- What does the future hold for curating new media art?
- What common ground exists with other disciplines?

These and other issues will be explored at Art-Place-Technology. Speakers include figures who are shaping the practice and theory of curating new media art, including:

Inke Arns, Hartware MedienKunstVerein, Dortmund.
Sarah Cook, CRUMB, University of Sunderland
Pierre-Yves Desaive, Fine Arts Museum of Belgium, Brussels
Paul Domela, Liverpool Biennial
Lina Dzuverovic, Electra, London
Charlie Gere, Lancaster University
Beryl Graham, CRUMB, University of Sunderland
Ceri Hand, FACT, Liverpool
Drew Hemment, Futuresonic, Manchester
Kathy Rae Huffman, Cornerhouse, Manchester
Stephen Kovats, V2, Rotterdam
Amanda McDonald Crowley, Eyebeam Art & Technology Center, New York
Francis McKee, Glasgow International & CCA, Glasgow
Trebor Scholz, Institute for Distributed Creativity, New York
Dimitrina Sevova & Alain Kessi, codeflow, Zurich
Paul Sullivan, Static Gallery, Liverpool
Simon Worthington, Mute, London

Art-Place-Technology will look at historical and current projects by some of the world's leading curators of new media art, and discuss how curating new media art creates interfaces with the art world, museum culture, media, publishing and academia.

Further programme details and registration:
Tel +44 (0)151 2315190

Art-Place-Technology is hosted by the Liverpool School of Art & Design, Liverpool John Moores University in collaboration with FACT and Art Research Communication.

Supported by Arts Council England North West, Media Arts Network.

Art Research Communication