艺术与工程:遗留下来的Billy Klüver 和E.A.T.
发起人:弥撒  回复数:0   浏览数:2445   最后更新:2008/10/14 11:09:23 by 弥撒
[楼主] 弥撒 2008-10-14 11:09:22
艺术与工程:
遗留下来的Billy Klüver 和E.A.T.
指挥和策划包装兰德尔

生产和Zakros InterArts
实验艺术与技术(吃)
与比利Klüver和朱莉马丁
展览图书编辑的蒂莫Druckrey
技术咨询,乔霍华德美国宇航局戈达德航天中心

展览说明

“新的接口我将定义是一个艺术家使得积极利用发明和技能的工程师,以实现自己的目的。艺术家不能完成他的意图的帮助,工程师。艺术家结合的工作工程师在绘画或雕塑,或表现。 “
Directed and curated by Randall Packer

Produced by Zakros InterArts and
Experiments in Art and Technology (E.A.T.)
in collaboration with Billy Klüver and Julie Martin
Exhibition book edited by Timothy Druckrey
Technical consultation by Joe Howard of NASA Goddard Space Center

Exhibition Description

"The new interface I will define is one in which the artist makes active use of the inventiveness and skills of an engineer to achieve his purpose. The artist could not complete his intentions without the help of an engineer. The artist incorporates the work of the engineer in the painting or the sculpture or the performance."






导言

在20世纪50年代末,瑞典出生的工程师比利Klüver工作的激光系统的贝尔实验室在默里山,新泽西州。 Klüver然而,不满意的纯科学的追求,和他的利益,使他的艺术探索环境,导致了通俗艺术,简约,并发生短暂的车程在纽约市。 Klüver朋友的领先指数的新艺术,使合作在20世纪60年代与这些重要人物罗伯特罗森伯格,曾钰成约翰,安迪沃霍,并约翰凯奇。

在此期间, Klüver超过任何人,预见到可能的融合的艺术和技术。 灵感来自亚里士多德的概念扩增-中,并不存在区别的做法,艺术和科学- Kl üver提出了积极的和平等参与的艺术家和工程师在创造艺术品。在这一合作,他认为需要工程师参加的艺术家,谁是“富有远见的生活”和活性剂的社会变革,涉及工程师,有意义的文化对话。 与此同时,他认为,艺术家的精神,罗森伯格著名的信条“ ,以拉近艺术与生活” ,有责任把技术作为一个组成部分作品,因为技术已经成为不可分割的我们的生活。

1966年,成立了Klüver现在传说中的实验艺术与技术(吃)罗伯特罗森伯格,弗雷德Waldhauer ,罗伯特惠特曼。甲状腺炎鼓励协作,艺术家和工程师在全国各地的多学科技术为基础的艺术项目。 Klüver的工作承担日益重要的概念合成的艺术和技术已经融入了当代艺术。

尽管历史意义比利Klüver的贡献,随后演变和广泛采用的技术在当代艺术,他的工作产生及其对最近媒体的工作还没有众所周知的,也没有收到了大量的知情关键的讨论。比利Klüver的贡献的历史,电子媒体艺术远远超出了概念,新技术和新的流派。 他努力弥合之间的鸿沟艺术和科学是驱动的愿望,培养协作精神。 在这样做时,他设法使艺术家接近材料的技术,从而更多地接触到的力量塑造当代社会,特别是革命文化变革的20世纪60年代。 他还致力于引进艺术家们的世界的科学家,他相信会变得更加从事关键问题的社会和文化。这些开创性的想法,因为成为基本的创造性工作的当代艺术家和工程师。

展览简介

“艺术与工程:遗产比利Klüver和吃”庆祝这一成果通过引入一个相对未知的机构的工作,并提供急需的和关键的历史背景。 此外,展览联系这些开创性的努力,以当代的关注,技术和战略通过当今数字媒体艺术家,理论家和评论家。

是次展览分为两个部分:

虚拟馆-一个多用户,虚拟环境的基础上著名的百事可乐亭,安装最初设立的' 70世博会在日本大阪,涉及7 5个合作艺术家和工程师。的数字重建安装将网络主机和参与博物馆在线观众在网络上。

艺术家,工程师和合作 -精选设施K lüver和合作的艺术家,以及其他工程吃工程师,艺术家合作。 还包括将甲状腺炎的影片档案,照片,通讯和其他文件,按时间顺序从举办期间1960年至1970年,概括和说明Klüver自己的话。
该展览将伴随全面本书载有重要的历史和技术所写的文章和Klüver ,以及网站包含大量复制的艺术品和文件。

虚拟展馆

“最初关注的艺术家是谁设计的展馆是质量的经验,应让游客选择,责任,自由,和参与。亭不会讲故事,或引导旅客通过一个教学,独裁的经验。访客将鼓励作为个人,探讨环境和撰写自己的经验。 “
Introduction

In the late 1950s, the Swedish-born engineer Billy Klüver worked on laser systems for Bell Laboratories in Murray Hill, New Jersey. Klüver, however, was not satisfied by purely scientific pursuits, and his interests led him to explore the artistic milieu that gave rise to pop art, minimalism, and Happenings a short drive away in New York City. Klüver befriended the leading exponents of the new arts, which led to collaborations in the 1960s with such key figures as Robert Rauschenberg, Jasper Johns, Andy Warhol, and John Cage.

During this period, Klüver more than anyone, foresaw the potential for the integration of art and technology. Inspired by Aristotle's notion of Techne – in which there was no differentiation between the practice of art and science – Klüver proposed the active and equal participation of the artist and engineer in the creation of the artwork. In this collaboration, he believed that the engineer required the participation of the artist, who as a "visionary about life" and an active agent of social change, involved the engineer in meaningful cultural dialog. At the same time, he felt that the artist, in the spirit of Rauschenberg's famous credo "to close the gap between art and life," had an obligation to incorporate technology as an element in the artwork, since technology had become inseparable from our lives.

In 1966, Klüver founded the now legendary Experiments in Art and Technology (E.A.T.) with Robert Rauschenberg, Fred Waldhauer, and Robert Whitman. E.A.T. encouraged the collaboration of artists and engineers across the country in interdisciplinary technology-based art projects. Klüver's work takes on increasing significance as the notion of the synthesis of art and technology has assimilated into the contemporary arts.

Despite the historical significance of Billy Klüver's contribution to the evolution and subsequent widespread adoption of technology in contemporary art, the work he produced and its influence on recent media work is not well known nor has it received a great deal of informed critical discussion. Billy Klüver's contribution to the history of electronic media art extends far beyond the notion of new techniques and new genres. His efforts to bridge the divide between the arts and sciences was driven by a desire to nurture the collaborative spirit. In doing so, he sought to bring the artist closer to the materials of technology and thus more in touch with the forces shaping contemporary society, particularly the revolutionary cultural transformations of the 1960s. He also strove to introduce the artists' world to the scientist, whom he believed would become more engaged with issues critical to society and culture. These seminal ideas have since become fundamental to the creative work of contemporary artists and engineers.

Exhibition Overview

"Art and Engineering: The Legacy of Billy Klüver and E.A.T." celebrates this achievement by introducing a relatively unknown body of work and providing much needed historical and critical context. Additionally, the exhibition links these seminal efforts to contemporary concerns, techniques, and strategies adopted by present day digital media artists, theorists, and critics.

The exhibition is divided into two parts:

Virtual Pavilion - A multi-user, virtual environment based on the legendary Pepsi-Cola Pavilion, the installation originally created for the Expo '70 in Osaka, Japan that involved over 75 collaborating artists and engineers. The digitally reconstructed installation will network host and participating museums with on-line audiences on the Web.

Artists, Engineers and Collaboration - Selected installations of Klüver and collaborating artists, as well as works by other E.A.T. engineer-artist collaborations. Also included will be the E.A.T. archives of films, photographs, newsletters, and other documentation organized chronologically from the period 1960 - 1970, with an overview and narrative in Klüver's own words.
The exhibition will be accompanied by a comprehensive book containing critical, historical and technical articles written by and about Klüver, as well as a Website containing numerous reproductions of artworks and documentation.

Virtual Pavilion

"The initial con
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