Ibiza’s BLOOP is going small with its ‘CHANGES’-themed Proactive International Art Festival, Aug 23 – Sep 9

22 August 2017

BLOOP Festival is presenting its 7th edition across venues in Ibiza, running August 23 to September 9.

Organised by Biokip Labs, this year’s theme is ‘CHANGES’ and will reflect on the concept of the word as it relates to the rapidly changing face of societal “values, lifestyle, politics, technology, and environment.” Unlike previous years, the 2017 festival will focus on reducing its size and ‘going small,’ with space design by Designersblock.

The event, which has a longer title of BLOOP International Proactive Art Festival, will bring together installation, video mappings, parties, street art and more, featuring work by Lo Spino (Dario Spinelli), Dizzconnected, Inge Sluijs, Ellamae Statham, Montse Nadal, Helene Steiner + Thomas Meaney, Aiwu, Margaux Hendriksen and more.

Visit the Bloop Festival website for details.**

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AND Festival Oct 3 – 5

2 October 2013

The Abandon Normal Devices Festival in Liverpool is running October 3 to 5. So if you’re going to miss out on Art Licks in London this weekend then here’s a northern alternative for those “anarchists of the imagination” working around new cinema, digital culture and art. Alternating between Manchester and Liverpool annually, with some regional action as well, the programme runs across galleries, screens and streets and has worked with artists like Eva & Franco Mattes and Ubermorgan in the past.

This year you can look forward to work by Jesse Darling, Ben Dalton and Matthew Plummer-Fernandez, the latter of whom recently featured in Most-D’s piece on ‘Algorithms: the space between art and technology‘.

See more the AND Festival website for more details. **

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LUGUS @ Coby Dock, Sep 28

25 September 2013

As part of the Lighting up the Lea festival, a collaboration between sculptor Rob Olins and Lee Berwick will be launching at London’s Cody Dock, during a night of performance, sonic and experimental art for Lugus presents- ‘The long arm of the light’ on September 28.

An audio-visual installation, ‘Sound Reflector’ will demonstrate  the dual reflective possibilities of these “acoustic mirrors” as light and sound is beamed across the dock from these movable mirrors, made by Olins and accompanied by compositions of field recordings, taken from the dock itself, by Berwick.

See the Lighting up the Lea website for more details. **

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‘The Country of the Blind’ @ The Sunday Painter, Sep 19

18 September 2013

As part of this year’s PAMI, running September 19 to 22, Peckham’s The Sunday Painter will be screening Mumbai-based collective CAMP‘s film The Country of the Blind and Other Stories, named after H.G. Wells’ 33 short science fiction and fantasy stories, starting on the Wednesday.

The group, concerned with infrastructures and mediation, spent a year working with volunteers of the National Coastwatch Institution at the coastal ‘blind spot’ of Kent’s Copt Point, investigating the shipping trade, local ecologies and fishing among other things.

See The Sunday Painter website for more details. **

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Carroll/Fletcher @ ArtInternational Istanbul, Sep 16 to 18

13 September 2013

London’s Carroll/Fletcher gallery will be presenting several artists at this year’s ArtInternational Istabul that running September 16 to 18.

They’ll be representing artists Michael Joaquin Grey, Susanne Kühn, Eva & Franco Mattes, Thomson and Craighead, Eulalia Valldosera, John Wood & Paul Harrison and recent addition Michael Najjar at Booth A11 from September 16 to 18.

See the Carroll/Fletcher website for more details. **

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‘Visa pour l’image’ @ Perpignan reviewed

12 September 2013

Visa pour l’image, the world’s biggest festival of photojournalism, just celebrated its 25th birthday in Perpignan. Two hundred thousand visitors and 3,000 professionals descending on the little city in Southern France to visit 23 exhibitions aiming to reflect the state of the world. But no one was in a party mood, especially not the festival’s uncompromising creator-director, Jean-François Leroy, whose discourse seems darker every year. But how could he be optimistic about the future of photojournalism when almost no one believes in its value? When not even magazine editors, once it biggest supporters, do?

But, at this festival that is once a year “the biggest magazine in the world”, photographers are heroes. That’s not just because some of them risk their lives on a daily basis, but because keeping faith in this precarious job should provoke everyone’s respect. The golden age is, of course, over and professional photographers now face fierce competition from basically anyone with a smartphone. But that’s not the worst part. The way photographers work has also changed drastically. Now that the people you photograph (combatants in a war zone, for instance) are fully aware of their image and of the possible impact of its broadcast on public opinion, now that they can see everything you publish on the internet, how can you work objectively as a war photographer and, most of all, what is it worth? While the international community concerns itself with possible military intervention in Syria, the question could not be more topical.

“Photographers are here to make noise in the governments’ ears, so that it is not so easy to send young people to die on the battlefield”, says Patrick Chauvel, 64, one of the most respected French war correspondents, who recently covered the Libyan civil war. Invited with Don McCullin, David Douglas Duncan and John G. Morris to take part in a roundtable discussion on “Photographing War”, Chauvel is a veteran with the rare exception of being not completely disillusioned with photojournalism; one of the few who still looks for new ways of practicing his art. That’s why, when he went to Libya in 2011, he didn’t only take his camera but decided to participate in the Condition One project launched by young war correspondent and videographer Danfung Dennis.

His idea was to change the visual language of video journalism through an app that would make war reporting immersive and interactive: on the battlefield, the videographer uses a near-180-degree wide angle camera instead of the traditional 50mm or 35mm lens. At home, you just hold your tablet or smartphone up as a video scene is playing out on screen, panning left, right, up or down, the perspective of the image moving to match it. Imagine you suddenly hear gunfire coming from the left. You can swivel around in the image, the exact same way you would snap your head in the gunfire’s direction if you were there, in what’s called “augmented reality for war journalism”.

This project is still in its beta-stage and needs to be debated for obvious ethical reasons. The main concern affecting every media professional being, ‘don’t you risk sensationalising war by talking about it in such a ‘fun’ way?’ The question was raised in 2010 when Armadillo, Janus Metz’ documentary about Danish soldiers caught in the war in Afghanistan, was awarded the Grand Prix de la Semaine de la Critique in Cannes. The immersion was incredibly realistic, like in an excellent video game, and several critics accused the film of blurring the divide between fact and fiction. But that was cinema, not journalism, and for a photojournalist the question then becomes, ‘how much moral authority does one have to play with that very divide?’ **

Visa pour l’image runs in Perpignan August 31 to September 15, 2013.

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Visions Festival this weekend

6 August 2013

New collaborative festival Visions Festival is happening this Saturday, August 10 across three venues in east London. Oval House, London Fields Brewhouse and Netil House will present a range of artists including Haxan Cloak, Australian provocateur Kirin J Callinan and Molly Nilsson.

Most excitingly, Micachu‘s new production project with performer Tirzah will be appearing, following the release of their excellent I’m Not Dancing EP on Joe Goddard of Hot Chip’s Greco-Roman label.

See the Visions Festival website for more details. **

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‘Monsieur Fantômas’ @ Festival Paris Cinéma reviewed

8 July 2013

Honouring Belgium this year, the annual Festival Paris Cinéma presented the identity of Belgian cinema, from birth to the present, across films and decades, with Ernst Moerman’s Monsieur Fantômas (1937) being a clear standout. Shown during a cinema concert tribute of silent film from the region at the Wallonie-Buxelles Center, it presented a surrealist approach to the crime thriller, while not only standing the test of time but making one wonder if the cinematic medium has moved forward or just in circles.

A social satire and an experiment in the cinematic formula, Monsieur Fantômas is based on the seminal character created by French writers Marcel Allain and Pierre Souvestre. Repeatedly reinvented across film and graphic novels over the last century, the prototype serial killer was highly regarded by the earlier 20th century surrealists. With live music accompaniment, including flute and a guitar, the musicians played the soundtrack for the silent movie, enhancing the experience and accentuating the surrealistic vision of its director, while introducing its audience to a daring satire of church, the judicial system and commentary on gender relations, through Fantômas’ kitsch.

What is most impressive about the Belgian auteur’s work is that he manages to create a film that has stood the test of time on every level, both visually and thematically. Moerman integrates his admiration and love of surrealistic art into film by creating scenes that honour the avant-garde movement: a dune on a beach becomes a home by putting a door in the middle of nowhere, its decor on the other side, with no walls and lines in the sand defining a room. It’s scenes like that, with its home movie style of shooting, that makes Moerman’s exploitation of the medium so remarkable. In a postmodern context, silent film does not always betray its age and this piece exemplifies that perfectly because, in not knowing the year of the production, an audience could easily mistake Monsieur Fantômas for a modern tribute to silent film, with contemporary sensibilities.

More than that, Monsieur Fantômas surpasses much contemporary film in imagination and originality. An argument can be made for the technological advances and the introduction of various non-linear narrative formulas in recent years but imagination and artistry is also integral to making those advances work. As a way to evolve the idea of narrative, of successfully mixing art forms across fine arts, cinema and poetry, Monsieur Fantômas comes across as one of the first examples of successful experimentation in interdisciplinarity. Perhaps the proof of its success is in the added integration of live music, making Moerman’s biggest accomplishment the fact that a piece created 80 years earlier could still pass for a contemporary work, while building on a dialogue between art forms in a most innovative way. **

Festival Paris Cinema is an annual festival running June 28 to July 9, 2013.

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Yoko’s Meltdown starts this week

12 June 2013

After last year’s Antony Hegarty-curated festival, featuring the likes of CocoRosie and Marina Abramovic, London’s Southbank Centre continues its feminist thread with icon Yoko Ono curating the program for Meltdown 2013. Running from Friday, June 14 to Sunday, June 23 artists to appear include Patti Smith, Siouxsie Sioux, Boy George and the Guerrilla Girls. The Let’s Start A Pussy Riot book, featuring creative responses from the likes of Robyn, Kara Walker and Bianca Casady will be launched during their ‘Activism’ weekend, which will also feature Peaches and Peggy Seeger in conversation, discussion with legendary fashion designer Katherine Hamnett and screening of The (R)evolution of Immortal Technique.

We’re most excited about seeing Peaches’ performance of Yoko Ono’s Cut Piece, Kim Gordon and Bill Nace’s experimental duo Body/Head with a special appearance by No Wave legend Ikue Mori, 90s cult rock band Cibo Matto and Yoko Ono’s Plastic Band on Friday. With any luck we’ll get a rendition of ‘Kiss, Kiss, Kiss’ from Ono’s 2007 release I’m a Witch with Peaches or, better yet, her cover of Katy Perry’s ‘Fireworks’, which you can see below. See the Meltdown website for more info.

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First Unsound Festival announcement

20 May 2013

The first batch of artists set to appear at this year’s Unsound Festival in Krakow, Poland, have been announced. Chicago footwork pioneer RP Boo, gloomy Blackest Ever Black singing Tropic of Cancer and drone metal band Earth will be appearing under the theme ‘Interference’ for the event, running October 13 to 20. We’re especially excited about young and intense Brooklyn-based noise artist Pharmakon who releases an album, Abandon, on Sacred Bones, June 10, as well as Stellar Om Source. As reported earlier, the latter Christelle Gualdi’s break from the signature weird ambience Joy One Mile drops that same day. See full line-up below.**

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The Wrong New Digital Art Biennale 2013 submissions open.

The Wrong.
15 April 2013

It’s a month of first editions in new media art with São Paulo’s The Wrong – New Digital Art Biennale weighing in on the great land grab for what’s to be a significant movement toward transdisciplinarity in contemporary art. The festival itself runs from November 1 to December 31 and they’ve opened submissions to the public for ‘Homeostasis Lab’.

Emilio Gomariz, 'Fluids'. New work exhibited as screensaver at idlescreenings..com
Emilio Gomariz, ‘Fluids’. New work exhibited as screensaver at idlescreenings.com.

Anyone who isn’t already involved in any other pavilion can apply and submissions, in a long list of “internet friendly” digital art, will be selected and curated up to and throughout the festival. See the The Wrong Biennale Facebook page for more information.**

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‘Cinéma du Réel’ @ Centre Georges Pompidou reviewed.

Cinéma du Réel. Re-thinking Reality.
11 April 2013

If you think that documentary is merely a photographic depiction of reality, the 35th edition the Cinéma du Réel Documentary Film Festival will have you reconsider. Offering discovery, transportation and new perspectives, the event held at the Centre Georges Pompidou presents roughly 200 films, its standouts taking the medium to new levels.

Otolith Group, The Radiant. Film Still.
Otolith Group, The Radiant. Film Still.

Continue reading ‘Cinéma du Réel’ @ Centre Georges Pompidou reviewed.

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Ether 2012 Contest

30 September 2012

With such exciting line-up as Ether 2012 has, we thought,…. right, there must be something we can do to make our readers enjoy the festival a little bit more… and so we did.

Throughout the next few days we’re going to give you the possibility to win a double ticket to see one of the following artists playing live @ London’s most famous cross-arts festival :

Tyondai Braxton, who will be performing Central Market with London Sinfonietta


 Anna Meredith who’ll be performing her eclectic electronic music with her band Horsebox


John Cale who returns to the Royal Festival Hall 2 years after performing his Paris 1919


Michael Gordon & Bill Morrison who will be premiering their “decaying” collaboration Decasia

To win a ticket all you need to do is answer correctly the questions we’ll be putting on this page over the coming days. But because we’re extremely nice (much like the pipol @ BangonPR who are making this possible) you can already have a look at the first 2 questions….

Note: Please e-mail your answers to ether2012competition@aqnb.com // Only one winner per double-ticket & event will be allowed // Winners will be notified via e-mail and their names will be published on this page //  For any questions  or doubts let us know on hello@aqnb.com 

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