ADAPT! (Part Two)

15 04 2009

22-25|04 @ DOX

Opening 22|04 @ 19:00


9 04 2009

HiVOIM is nanofibre structure created during process of electrospinning. Hivoim structure is built under influence of surface conductivity. The author created special transfer backround with conductive and nonconductine lines. Nanofibers are precisly organised in places of high voltage. This phenomenon makes HiVOIMs and the artist is in a position to rule the whole process. HiVOIM is picture existing in nanospace and can be visible in electron microscope. The project is produced in collaboration with Nanofibres Laboratory, Department of Nonwovens, Technical University of Liberec.

Pavel Kopřiva, Czech, 1968, Faculty of Art and Design, University J. E. Purkyně, Ústí nad Labem, Head of DIGITAL MEDIA studio (, His long-term interests include surface reflection, military logistics, UFO, space adventures, nanotechnology, and, on general level, intersection of art and science.




9 04 2009

On-line exhibition curated by Daphne Dragona, organised by the National Museum of Contemporary Art – Athens, presented online and in the premises of the museum from March 18 to August 31, 2009.

Presented in Prague at ENTER festival with a kind permission of all the artists, the curator, the text contributors and the director of the National Museum of Contemporary Art – Athens, Mrs Anna Kafetsi.

Exhibition official site:


Tag ties & Affective Spies is a critical approach on the social media of our times. What happens when we are “tagging”, “posting” and “sharing” our experiences and opinions in platforms such as those of Facebook, YouTube, flickr or del.ic.ious? Are we really connecting and interacting or are we also forming the content and the structure of the social web itself? The online works included, highlight the controversies of the web 2.0, commenting on its constant balancing between order and chaos, democracy and adhocracy, exposure and exploitation.

Exhibiting artists:




















“A Tag’s Life” is developed to use the flickr, an online photo sharing platform, as an analytic and trend watching tool by visualizing the life course of tags. This visualization turns the user-generated content of flickr into a mirror of cultural trends. Whereas 2.0 websites such as the Youtube and the flickr mainly show the current popular trends, this project goes one step back by visualizing ‘historic trends’ on the Internet. With this, the tool opens up a kind of historic dimension and observes their development, their rise and fall within time and space.

The project is created by an interdisciplinary team of students from the fields of information science, arts and media of the University of Amsterdam.

Tagged with flickr, statistics, tag, time, trends.



Global index of the decay of the aura of language, the Dadameter aims at measuring our  distance to Dada. It was inspired by the work of the french writer Raymond Roussel and a game on language between homophony and equivocation. The project is a satire about the recent transmutation of language into a global market ruled by Google et al. and uses the most up-to-date technologies of control to draw cartographies of language at large scale!

Programming: Valeriu Lacatusu

Production: Rencontres Internationales Paris-Berlin-Madrid-Jeu de Paume

Christophe Bruno (FR) lives and works in Paris. His polymorphic work which includes installations, performances and conceptual pieces has a critical take on network phenomena and globalisation in the field of language and images. He was awarded a prize at the Madrid Contemporary Art Fair with the ARCO new media prize 2007, at the Prix Ars Electronica 2003 and the Piemonte Share Festival in 2007. His work has been shown internationally.

Tagged with capitalism, dada, google, language, semantic



What happens when the familiar associations between context and structure break down? When what you are used to recognise is not there anymore, and numbers, symbols and spaces have taken now over? – winning information rips off the categorizations, the forms and the semiology of today’s web. Navigation becomes difficult and chaotic challenging the user to find his own way out, offering this subversion itself as a spectacle.

Based in The Netherlands, JODI, Joan Heemskerk and Dirk Paesmans, were among the first artists to investigate and subvert conventions of the internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilise the relationship between computer technology and its users. Their controversial performances have been discussed in the international press and their work has been presented in museums, centers and festivals around the world. They have received the Jerome Commission from the Walker Art Centre, Minneapolis and an Honorary Mention from Ars Electronica, Linz. *bio courtesy of

Tagged with, detournement, w w w w w w w.



Folded in is a project about the notion of borders and their representation in the social networks of the web 2.0. User-generated systems like the Youtube show that users tend to reproduce in the web the same prejudices, superstitions and nationalistic beliefs of the real world and shape similar types of borders and even conflicts in the form of video wars. The project attempts a detournement of the representational space of YouTube, by transforming it into a gamespace, and by respectively turning the selected videos and the tags into game elements. Users are asked to cross tag – borders, conquer and map territories evaluating the data they watch. The Folded in project wishes to contribute to the semi utopian idea of the creation of the thoughtful gamer. What type of sociality does the ‘Social Web’ produce and for whom? Can it liberate ourselves from prejudices and beliefs through play?

Personal Cinema is a network active in the field of media arts. It plans and organizes projects and activities that encourage the critical stance towards the new forms of production, presentation and distribution of audiovisual products. Personal Cinema, anticipates cooperation with social and artistic networks, groups and individuals, that take a similar stance and consider necessary the creation of a visible space of debate; with those people that are engaged in constant inventions to render explicit and clear the ‘signal’ from ‘noise’, thus to say, the two unequal parts that compose the current pseudo-dialectic of information.

The erasers are a group whose work is based on the integration of various seemingly diverse elements such as: live cinema/ improvised music / performance_actions / the internet/ and installation techniques. The erasers are an open circuit: they are as few or as many as each project demands and they all function within the free association that the erasers are.  The erasers search for the possibility of presenting their work to an open and unbiased audience has led them to work under various pseudonyms, some of these being: the instructors and the curators.

Tagged with borders, critique, detournement, gamespace, YouTube.



“Internet delivers people” is an adaptation on Richard Serra’s and Carlotta Fay Schoolman’ s, Television delivers people from the 70s. By transcribing the original work and procedurally replacing only a few words, Stirling followed the “mash up” internet mentality to restructure content in order to convey a new message. Just like Serra and  Schoolman referred to television’s role as an instrument of corporate control, Stirling now refers to the reality of the internet where the user is a consumer, a producer and the product itself at the same time.

Ramsay Stirling lives/works in New York where he studies at Parsons the New School for Design. His work, that is internet based to a great extent, has recently been shown in the Chelsea Arts Museum and the National Art Museum of China.

Tagged with capitalism, consumer, internet, parody, producer.



IOU.s continually gets new user notes from the website., the popular social network that enables users to save and share their bookmarks, is an example of the ’social software renaissance’ phenomenon and the categorisation of information through tagging,  done by ‘the people’, not the ‘experts’. In the era of folksonomies, and not of taxonomies, IOU.s concentrates,  on the “user notes” that accompany the bookmarks and the tags and actually provide much more information expressed by the users. If you read several, you realise that the amount of product endorsement is quite striking. Maybe behind the “users”, there are also  several companies are tagging their own products.? What is happening in reality? What if the folksonomist is in fact a taxidermist? (sorry, taxonomist…)

Wayne Clements is a visual artist and a writer living in London. His poetry, prose and visual work are published in a number of magazines and books, and his sound poetry is included in the book and CD Homo Sonorus, An International Anthology of Sound Poetry, Moscow (2001). His artworks are featured on the and, ,and are also shown in many festivals and exhibitions of electronic art. un_wiki (2006) received the Award of Distinction, Net Vision, Prix Ars Electronica (2006), and was shown in Connecting Worlds, ICC Gallery Tokyo (2006), in a specially commissioned Japanese language version. He completed a practice-based Ph.D. degree in Fine Art at Chelsea College of Art and Design (2005). Currently he is Visiting Research Fellow at Chelsea College of Art and Design

Tagged with critique,, folksonomy, product placement, tag.



Taking internet flows as a starting point,  L’ attente – the waiting proposes the network inhabitants’ fiction. Not the life-story of one person or another but the story of the Internet machine that feeds on our lives daily. There is two kinds of those Internet twisted flows taking as a starting point realtime web users’ sentences. Random words are extracted from those sentences and traduced in images using flickr. In addition to the words and images the visitor sees pre-recorded videos of passengers waiting for the train in the Gare du Nord looking to the schedule or chatting together.

Grégory Chatonsky currently resides in Montreal and Paris.  He has worked on numerous solo and group projects around the world. In 1994, Chatonsky founded a collective,, and has produced numerous works for well known centers and museums.  Chatonsky’s body of work, including interactive installations, networked and urban devices, photographs and sculptures, speaks to the relationship between technologies and affectivity, flow that define our time and attempts to create new forms of fiction.

Tagged with flickr, internet, passengers, station, Twitter.



Subvertr is a parody of the popular social network for images, flickr.

“Bored by mainstream media? Tired of boring social tags?Subvertize! Don’t let anyone else put the hands on your imaginary. Just subvertize and manage it by yourself: collect, detourn, alter and share it with other people like you! Share Share Share … Share your pictures with your friends, family and everyone else. Your subvertized images are now visible to everyone.

Subvertag! Let your images finally be. Give’em a title, add any stupid notes and organize them into delirant subverTags: become part of an insignificant, collective, visionary escape from common sense.”

Les Liens invisibles is an imaginary art-group from Italy. It is comprised of media artists Clemente Pestelli and Gionatan Quintini. Their artworks are based on the invisible links between the infosphere, neural synapsis, and real life.

Tagged with detournement, flickr, share, subvert, tag.



“The Big Plot” is a romantic spy-story played on the info-sphere. It looks at the role of espionage in intrusions into people’s internet lives, the dysfunctional sociality that is being created by media communications, the political use and exploitation of social networks. Four characters will tell a story using dialogues shown on YouTube videos, blog posts, and via entries on their Facebook profiles. The cloned identity of a real spy will be used as a plot device for telling a story about the political and sentimental weakness of our era, which are accelerated by the compulsory use of personal media and social networking platforms. The compromised privacy on this kind of media and the political control over the Internet will be some of the most important issues of the story. Audiences will have an active role in the story as well they will be able to interact with the characters.

Paolo Cirio is researching into media, communication, politics and cultural anthropology. Radically and ironically, he controversially plays with semiotic vectors in order to involve the audience in thinking about the meaning of representations of reality. He has worked as media artist in various fields: net-art, street-art, video-art, public-art, marketing-art, software-art and interaction-design.

Tagged with activism, privacy, spy, storytelling, web 2.0.



Since August 2005, We Feel Fine has been harvesting human feelings from a large number of weblogs. Every few minutes, the system searches for occurrences of the phrases “I feel” and “I am feeling”. When it finds such a phrase, it records the full sentence, up to the period, and identifies the “feeling” expressed in that sentence (e.g. sad, happy, depressed, etc.). Because blogs are structured in largely standard ways, the age, gender, and geographical location of the author can often be extracted and saved along with the sentence, as can the local weather conditions at the time the sentence was written. All of this information is saved and a database of several million human feelings is formed, that can  can be searched and sorted across a number of demographic slices. We Feel Fine is an artwork authored by everyone that  grows and changes according to what’s on our blogs,  what’s in our minds.

Combining elements of computer science, anthropology, visual art and storytelling, Jonathan Harris designs systems to explore and explain the human world. He has made projects about human emotion, human desire, modern mythology, science, news, anonymity and language. The winner of two 2005 Webby Awards, Harris’ work has also been recognized by well known festivals and journals globally.

Sep Kamvar is a Consulting Professor of Computational Mathematics at Stanford University and the chairman of Wildflower Capital.  He founded Kaltix, a search engine that was acquired by Google in 2003, and Distilled, a clothing line and artist collective based out of San Francisco.

Tagged with affection, information visualization, language, statistics, storytelling.


9 04 2009

“Temptation, violation, abandonment.”

SCHLAMP is an interactive video installation. Lying on the ground is a young woman in a red dress, unknowing what awaits her. Reassured by her seductive calls we come closer, maybe unexpectedly touching her or even stepping on her. She reacts immediately, complains loudly. “Please, don’t step on me!“ Although only a projected video image she seems to feel pain. “Ouch, i’m sensitive” she shouts. But as we are above her and she can’t really fight back we are provoked to continue. Somehow it’s even enjoyable to inflict pain on her. She moves away from her place, always coming back after a little while with short choreographed sections. Smoothly moving back to her position on the floor. At a certain point the situation completely switching. She doesn’t allow us to invade her personal space anymore, fleeing and hiding from us.

Interaction: We understand interaction to be a communication process. Therefore interactive installations should have a comprehensible response. Like in human communication, we want to establish an understandable language of interaction. But like in a good conversation, there have to be surprising new aspects we get to know. The “Schlamp” installation fulfils those two rules in very direct ways. Encounter with the virtual figure causes known human reactions. Something is still strange though, we just see a projected video image. The floor projection perspective is an essential aspect of the installation. The attractive, but also slightly ‘cheap’ looking woman is unprotected against the viewers. She can’t stand up. That makes it easy to provoke her. The installation actually has three parts. In the beginning the woman tries to tempt us towards her, she is looking for encounter. This part works with animated still images, not video and therefore is a little more abstract. In the second part the woman is lying on her back, responding very sensitive when we touch her or step on her. The last part is about her attempt to flee. It’s abstract by the way she moves, she is actually dancing away from us. The audience response is fascinating. Sometimes the encounter is very friendly and human. One the other hand the virtuality of the situation allows radical and almost violent behaviour.

Technical realisation: The interactive Installation works with the EyeCon camera motion sensing system. Video projector and infrared camera are mounted above the installation space. The interactive system detects the collisions of a person with the projected image. In case of a collision the video branches to a new scene. Sounds are triggered. The choice of the new video scene is determined algorithmically by motion sensing parameters.


Emily Fernandez and Frieder Weiss are ‚Hypecycle’, the Agency for Intermedia Dance.

Frieder Weiss is Expert for realtime computing and interactive systems in performance. He develops software for video interactive dance and performance works. Art and performance projects with several production partners like Phase-7 in Berlin, Leine und Roebana in Amsterdam. Cesc Gelabert in Munich, Chunky Move in Melbourne.

Emily Fernandez is born in Melbourne, Australia, where she also studied dance. Solo dancer at the ‘Mecklenburgischem Staatstheater’ in Schwerin. Now developing own choreographic works and media installations which were exhibited at Cynetart, Dresden, Blaue Nacht in Nürnberg and the Monaco Dance Festival.


9 04 2009

Machinarium is a point-and-click full-length adventure Flash game from Amanita Design. It is situated in strange rusty metallic place populated only by robots. The story is about a little robot that has been unjustly thrown out to the scrap yard behind the city. In the game he returns to the town where he meets the bad guys from Black Cap Brotherhood – they are just preparing a bomb attack on the central tower where the town ruler has residence in. Of course the robot hero must stop them and also rescue his friend robot-girl. Compared to the previous Amanita Design sequel project Samorost, it is more complex, bigger, features more puzzles, inventory and many control improvements. Machinarium is about to be released by the end of 2009.


Jakub Dvorský is a 30 years-old game designer and visual artist who comes from Brno, Czech Republic. He started producing computer games in 1992 and after finishing The Academy of Art, Architecture and Design in Prague in the department of Graphics Design and Visual Communication led by Professor Jiří Bárta in 2003 he established independent games development studio called Amanita Design ( and started to work on Flash games with animator Václav Blín – his former university schoolmate. To the most successful projects of Amanita Design belong Samorost1 and Samorost2 on-line Flash adventure games which are appreciated mostly for its unique graphic style, animation and overall atmosphere. Other projects produced by Amanita Design are Rocketman game for Nikelab, The Quest For The Rest game for The Polyphonic Spree, Plantage video clip for Danish band Under Byen, Questionaut educational game for BBC. At the moment Jakub Dvorský and Václav Blín are collaborating with programmer David Oliva, musician Tomáš “Floex” Dvořák, sound maker Tomáš “Pif” Dvořák and painters Jakub Požár and Adolf Lachman on the Machinarium adventure game.

WBNR_#6 (From objective map to subjective mapping) BY ALESSANDRO CARBONI

9 04 2009

Videowork inspired by the article of the geophysis John K. Wright written on 1946, “Terrae Incognitae: The Place of Imagination in Geography”. The post-modern shift towards the globalization age is producing a deep change in the way that urban space is conceived, realized and experienced. The Chinese cities are no longer the site of staying. While historically the settlement was the primary figure of the urban, the essential constitutive values of which were intimacy, appropriation, defence, circumscription and cohesion, with late modernity there has been a definitive shift towards an ontology of movement. The nature of the metropolis is defined essentially by the capacity to attract movement and to interweave trajectories. It is above all a pole, an attractor, a territory of transit and exchange. Human body in this perspective is redefined as a vector, as an entity able to operate transfer – of knowledge, goods, money, energy – as a force of mobilization necessary to the market dynamics. Fundamental aspects of the way as bodies and cities interact and reciprocally re-design themselves are the progressive fluidification and mobilization of human behaviours, the increasing mediation of interpersonal relationships through technological devices and institutional protocols, and the overwhelming prolification of images and data constituting the dominant form of production in the contemporary urban economy. A dialogue between GPS technologies and video concentrated on the exploration and study of the process of Chinese landscape transformation called: “high-speed urbanization” and on the most disarticulated forms of urban density. A research program developed during a residence of three months, were Alessandro Carboni crossed the region of Guangdong called “the Pearl Delta River” as Hong Kong, Guangzhou.


Alessandro Carboni is a multidisciplinary artist. He divides his practices in the exploration and the study of the body movement and the relation of it to the space. For several years, he has been working on the creation of a method for dance: VCCT, considering the relation with choreography, mathematics, generative code and system theory. Added to this, he is expanding his research coordinating the activities of “LaDU” MultimediaLABoratory of Urban Density” at the University of Architecture in Cagliari. He also teach “Methodology and Performance Practice” at the MA “Scenography for Performance”, Central Saint Martin’s in London; and “Digital Perfomance” at Master of Digital Environment Design at NABA in Milan. He performed in Europe as weel as China and India. He is choreographer and dancer with his group OOFFOURO resident in Sardinia, Italy.


9 04 2009

paul1Based on ideas of classical portraiture and wildlife tracking as a conceptual point of departure, Paul Zografakis’ Migratory Portraits is a series of digital prints created through the use of GPS technology. Using participants encountered throughout his time in Prague, the subjects go throughout their daily routine for one week as the GPS records their every movement from morning to night.  Once the information is gathered, the physical cartography is extracted, leaving only an abstracted linear form of each participant’s trajectory. While the idea of portraiture may often be thought of as painting, photography, or sculpture that represents physical characteristics of a subject, in this project Zografakis suggests that the paths we travel represent an equally telling and personal story.  Similarly, wildlife tracking assesses the behaviour and health of a species through the examination of animal movement, while Migratory Portraits investigates if patterning created by human daily rituals can be related to a study of an individual or a group.

Paul Zografakis (b. 1975 St. Louis, Missouri) employs various strategies in order to investigate his visual vocabulary, often taking the form of transposition in which central aspects of image, environment, or social order are isolated, reordered or interchanged. Zografakis has created social projects, performed, exhibited, and screened his work internationally, including; Up Against the Wall at the Zacheta National Gallery of Art in Warsaw, a recent solo show TBD, at Little Tree Gallery in San Francisco, and the 3rd Biennial of Contemporary Art in Baku, Azerbaijan. Having recently completing a US Fulbright Scholarship to Greece, Zografakis has been living and working in Athens. In 2009 he is artist-in-residence at CIANT LAB, Prague through Pépinières européennes pour jeunes artistes.