One of the promises that I made myself as a kid, was to never become a curator. I think the main reason was that I felt frustrated about not being allowed to touch artworks with my chocolate filled fingers in any of the Centre Pompidou's modern art exhibitions. The people who enforced this i thought, were obviously not to be envied in their dull lives of not-touching-funny-things.
Later I discovered that curating can be a lot more fun that it seemed at the time, and in 2018 I even stumbled upon the Touch Me Festival, an exhibition inviting the public to touch and feel all the fun wobbly, pebbly, gooey artworks on display. Needless to say that my inner child was delighted.
To this day I've participated in curating exhibitions, festivals, and tours mostly linked to digital art, most of them being led by independant art community initiatives or NGO's.
/’fu:bar/ is a yearly festival gathering focused on electronic error-themed reinterpretative multimedia art. The week-long festival starts on the first Saturday of October and hosts an artist residency program, showcases diverse talks, workshops, performances and an inclusive group exhibition, set up at multiple locations in Zagreb, Croatia and online.
The event is organized by the AKC Attack association in collaboration with the Format C Artist Organization directing the festival and exhibition program. It’s supported by a number of volunteers, collaborators and participating artists, as well as a number of program media partners, glitch art donors and funders (such as the “Kultura Nova” Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb, the City of Rijeka etc.).
website > fubar.space
curators > Dina Karadžić, Vedran Gligo, Jon Cates, Zoe Stawska & Kaspar Ravel
Every summer takes place Les Estivales du Fil Bleu, a residency program for artists in the fields of performance art, from theater to A/V live performances. The residency takes place south of France in the Dordogne at the heart of a vineyard in a one mile square field where all residents live and reside together for two weeks. At the end of the residency, the site is opened to the public and artists are invited to present their work during a two-day long micro-festival.
The event is organized by Le Fil Bleu, a non-lucrative organization composed of two parts : Le Théâtre, the theater company directed by Adrien Sandrin, and Le Typhon, a surreal and experimental arts laboratory led by Maya Hamra and Kaspar Ravel. Both of these work together and alongside other artists such as Emma Alizarine and Guillaume Leroy to build the residency program.
website > le-fil-bleu.com
curators > Adrien Sandrin, Emma Alizarine, Maya Hamra & Kaspar Ravel
Synopsis - Why does my screen go blue when things go wrong ?
Though we didn't have a word to express the color blue in most languages before modern times, today, blue is humanity's favorite color. With its strong symbolism, expressive nuances, and today's facility at reproducing it through synthetic pigments, blue has become a big part of our lives, and furthermore of our connected experiences on the internet.
Since modern computers, every shade of blue can be represented with three numbers (RGB) and reproduced on LED screens. As digital citizens, we experience many of these shades today, and every single one of us can tell the difference between the facebook, twitter and tumblr blues designed to adorn the safe space of modern social networks.
The blue that we'd like like to talk about today is the Blue /x80. Which to a computer means the maximum quantity of blue. From the unstyled links of wikipedia to the iconic blue screen of death (BSOD), blue represents a default setting, a fallback option for when all other blues fail. Sometimes you can catch of glimpse of it on web pages while other times it is the language your videoprojector uses to tell you that you did not connect the right cable. Blue /x80 is a technological hardcut, a choice that programers made to display this specific color when a system fails or defaults.
Blue \x80 is an exhibition that questions our relationship with technological hardcuts, how systems shut down and default to blue when they could instead display errors, and in our case glitch art.
curators > Zoe Stawska & Kaspar Ravel
The OYÉ Circus is an itinerant stage in the shape of a yurt which hosts A/V performances inside its 360 degree angle projectable surface. The idea was to create a space where artists and public are both immersed together in the proposed visual performances. Usually booked in either arts of electronic music festivals, the OYÉ Circus toured for two years with its artists and collaborated at every gig with local artists such as dancers, musicians and actors.
The project was produced by OYÉ visual art label, a non-lucrative organisation based in Paris, France which serves as a label for a collective of visual artists just like a record label would for musicians. The design of the stage was led by Tom Hebrard and Paul Vivien. The booking and programming of performances was led collaboratively by the touring artists.
website > oye-label.fr
curators > Paul Vivien, Tom Hebrard, Tallulah Frappier, Incogito, Dylan Cote, Hugo Le Fur, Michelle Carrasco and Kaspar Ravel
The Glitch Artists Collective (GAC) started as a facebook page reposting glitch artworks from a group of the same name, over the years it has grown to become a multi social-media based community && collective home to 80K+ artists and enthusiasts of the genre. Today it divides itself as follows : The Glitch Artists Collective - the original community, Glitch Aesthetics - which collects images of the natural world that ressemble glitches, The Sonic Art Guild - bringing together artists fond of the process of sonification, New Aesthetics - which has become it's own project centered around post-internet culture, Tool Time - a place for artists to ask and share about techniques used.
As social media progressively took a more important place in our everyday lives, the Glitch Artists Collective became not only better grounded in the digital art scene but also an active participant in the development of the glitch art movement. Through it's naïve organization it developped along the years interesting models for both, online curating standards and effectively pulling out of the internet to create spontaneous events around the world. Its first steps in the offline world took place in 2014 during the Glitch SF exhibition in San Francisco. This was followed closely by other events organized under the name Glitch Art is Dead. The collective effort/work of curators Aleksandra Pieńkosz, Zoe Stawska & Miles Taylor made it all possible in Krakow, Poland (2015) and Minneapolis, Minnesota (2017) and finally for Blue \x80 in Paris, France (2018)
website > facebook.com/glitchartistscollective
Exquisite Glitch is a self managed social media based community, it is open to anyone around the world who enjoys glitch art aesthetic and exquisite cadavers. Every few months, a member steps up with an idea, then coordinates and curates a new round from the source to the final montage. The productions of each round wildly vary in content, medium, and diffusion; from digital image collages, video game texture packs to full-length movies, the works of the community are often published online, but have also on occasion been printed or projected in museums, galleries, hacklabs and independent art spaces around Europe.
website > facebook.com/groups/exquisiteglitch