Linz, downtown, 22/04/2010
Para ver a escala urbana, clique na imagem. Click on the image to see it in its urban scale.

The Urban Screens Reader é o quinto livro publicado pelo Institute of Network Cultures de Amsterdam, dirigido pelo mestre Geert Lovink. Os livros podem ser pedidos pelo correio e baixados em PDF.

Neste volume, em que participo com um ensaio sobre arte pública em contextos nômades, há ensaios imperdíveis de Saskia Sassen, Sean Cubitt, Scott McQuire e Andreas Broeckman, entre outros.

Mais sobre o livro, abaixo. Para fazer o download, aqui.

about the book: The Urban Screens Reader is the first book to focus entirely on the topic of urban screens. In assembling contributions from a range of leading theorists, in conjunction with a series of case studies dealing with artists’ projects and screen operators’ and curators’ experiences, the reader offers a rich resource for those interested in the intersections between digital media, cultural practices and urban space.

contributors: Simone Arcagni, Alice Arnold, Giselle Beiguelman, Liliana Bounegru, Kate Brennan, Andreas Broeckmann, Uta Caspary, Sean Cubitt, Annet Dekker, Jason Eppink, Ava Fatah gen. Schieck, Mike Gibbons, M. Hank Haeusler, Bart Hoeve, Erkki Huhtamo, Karen Lancel, Hermen Maat, Meredith Martin, Scott McQuire, Julia Nevárez, Sabine Niederer, Shirley Niemans, Nikos Papastergiadis, Soh Yeong Roh, Saskia Sassen, Leon van Schaik, Jan Schuijren, Audrey Yue.

Visual Foreign Correspondents Berlin is the latest in a series of projects initiated by the Visual Correspondent Foundation in cooperation with WL Projects Berlin in which networks of high-profile public media platforms have been developed as specially curated spaces. In VFC-Berlin we invite a network of artists to reflect in a personal way on the recent events in their region and relate these events to ways in which the world has changed in the two decades since the fall of the Berlin Wall.

Last Exit from VFC_Berlin on Vimeo.

In Last Exit Before Reality Giselle Beiguelman caricatures the politically correct borders imposed by a society of control. The aggressive stream of continuously flashing warning and prohibition signs leaves the viewer without any doubt that s/he is trespassing countless rules in a strictly controlled environment. According to Beiguelman, the steep influx of rules and regulations in our current climate, followed by their almost natural acceptation within civil society, leads to the loss of a possibility for conflict, and thus to a disappearance of -previously negotiated- public space.

Interview with Giselle Beiguelman by Annette Wolfsberger
Die neuen Grenzen, die wir lieben (interview – German – Zeit Online)
All artists
Project

Locations:
Urban Screens
Checkpoint Charlie, Berlin

The individual works and eventually the entire series will be shown on a specifically designed urban screen situated at a platform of the U-Bahn Station Kochstrasse in Berlin, Germany. This central and historic location has always been significant as especially during the divide. Better known as Checkpoint Charlie it became a symbol of the Cold War, representing the separation of east and west, and — for some East Germans — a gateway to freedom.

21 September – 9 November:
weekdays: 7 am – 9 pm
weekends: 11:30 am – 8 pm

Last Exit Befor Reality at Checkpoint Charlie

Collegium Hungaricum, Berlin
Karl-Liebknecht-Str. 9

On the anniversary itself, for one night only, the entire series of works will be shown on the media façade on the outside of the Collegium Hungaricum Berlin the Hungarian Cultural Institute, This modern building is in the heart of the city of Berlin close to where the wall once was. With it’s enormous windows it will be a dramatic and symbolic location for the final night of the project.

Monday 9th of November: 8 pm – 12 pm

Die Wende Festival, Melkweg Amsterdam
The entire series of works will be presented in De Melkweg, Amsterdam in November as part of the festival ‘ Die Wende’ focussing on the events round the ‘Fall of the Wall’ and will be screened continuously during the festival.
www.die-wende.nl

esc for escape is a cross media project on error messages. A documentary on life beyond the screen with outputs in DVD, electronic billboards and indoors exhibition, mediated by Internet, SMS e MMS. The audience was invited to submit error messages (text and images) by mobile phones and the web. Their submissions appeared on a commercial electronic billboard at Paulista Avenue (SP) and in the exhibition space at Itaú Cultural.

2004. Comissioned by Itaú Cultural for the 2nd Art and Technology Biennial. Curators: Arlindo Machado & Gilbertto Prado

www.poetrica.net, 2003
Poetrica is an investigation about reading and reception in entropic and cybrid situations and a practice of appropriation of the advertesing sytem as public space. It was launched at Galeria Vermelho, in São Paulo, 2003, and closed in P0es1s, at Kulturforum, Berlin (2004).
The project involves a series of visual poems conceived by myself with non-phonetic fonts (dings and system fonts), a DVD, digital prints, movie trailers and a teleintervention which allowed anyone to send messages, by the Web or SMS, to three commercial electronic billboards located in downtown São Paulo, using the same typographic background I used in my nomadic poems. Messages were transmitted from 4 to 8 PM for 10”, every 3 minutes, following the order of ads scheduled to be broadcast in the same billboards. All users were notified by e-mail or SMS confirming the transmission in the electronic billboards.  Poetrica website archived all messages with captions that identify the original text written before its conversion in an iconic font family, revealing in some ways a community of poetic hackers of the telecommunication system who acts in public spaces.  A projection inside Galeria Vermelho transmitted back to visitors the action in the electronic billboards and street images.
For P0es1s exhibition at Kulturforum a documentary about the teleinterventionon DVD was produced and a series of “ad_oetries” (ads + poetry) was conceived to announce Poetrica at P0es1s on Ku’damm electronic billboard and as trailers in Berlin movie theaters.

egoscopio (2002) engaged new subjectivity formats, reception amidst processes of entropy and transformation of the interface into the message, exploring the context of confusion between art, advertising, and information that digital culture promotes. It involved collective actions in public media spaces, allowing anyone to send, through the egoscope web site, on-line sites to two commercial electronic billboards located in a busy avenue of São Paulo.

did you read the east? (leste o leste?) was my first public art work. It was a teleintervention conceived the 4th Arte/Cidade edition_ Artecidadezonaleste (2002)_ that linked an electronic billboard of São Paulo with any computer connected to the Web. Participants could choose an image on line, send it, using only their browser, and check the result in the webcam. The images submitted to the billboard were a series of messages that dialogue with the graffiti of that area. See images and videos here

2002. Comissioned by Arte/Cidade. Curator: Nelson Brissac