Artist in residence Call for Proposals
http://nimk.nl/eng/artist-in-residence-call-for-proposals
Funware Shared Artist in Residence:
Netherlands Media Art Institute, Amsterdam (NL)
BALTAN Laboratories, Eindhoven (NL)
Piksel, Bergen (NO)
CALL
BALTAN, NIMk and Piksel have launched an open call for proposals as part of the exhibition project Funware. We are looking for interesting new software art projects that can be developed in the period of June – November 2010 through a shared residency. The new work developed during the residency will be presented in the Funware exhibition at MU in Eindhoven, at HMKV in Dortmund and as part of the Piksel festival 2010.
This residency is a collaboration between three labs, based on a desire to investigate the ways and potential of working within a network of labs that support the exchange and sharing of resources and knowledge. The form of this collaboration aims to provide the most specific and relevant support to artists working on art and technology projects in residence. Knowing the capacities and competences of each lab/organisation, the residency exchange will offer targeted support (in the form of resources, space, technical support, local context and time) to be provided at different stages of the research and development of the project specific to each organisation. Off- and online dissemination of form and content via this partnership and the building of structural relationships are crucial to the collaboration.
FUNWARE
Funware, conceptualised by Olga Goriunova (runme.org), is an exhibition about the fun in software. Making and using what has become known as software is experimental, humorous, and eventful. However improbable it might sound for today’s all encompassing dullness of forms, databases, schedules and processors, “fun” has informed and guided the development of software from its very inception. The rise of net art and the changes the Internet and desktop computers brought to culture gave rise to software art at the turn of the millennia. Performed by amateurs, artists, alternative coders or professional programmers for “fun”, software art as an aesthetic practice questions, tangles and experiments with the materiality of software has subsequently lost its visibility again, as attention is turned to the social web and software applications for third generation mobile phones, which all harness some of the energies constitutive of aesthetic software. Funware reflects on the history of engagement with software, that demonstrates its non-industrial, non-professional, non-commercial, or non-academic character.
The exhibition demonstrates the trajectory of humour and affect as constitutional to software and computing. The exhibition aims to make such an ‘obscure’ technological object as software, open, palpable and approachable, bridging a gap between ‘serious’ production such as technology and ‘non-serious’ production such as different forms of art. The exhibition has a few distinct threads: games; ASCII; code art; a few vectors of AI; computers in popular culture; spyware, conceptual software, hardware modification, hacker/virus approaches, sound, software modification, pranks, participatory web. And as software is intertwined with the hardware it runs upon and the networks that construct the society in which it rules, the exhibition features a lot of projects dealing explicitly with computer hardware or the materiality of hardwareas well as engaging projects experimenting with sound.
