Artists/Participants

The complete rules are found in the document: Competition rules JD

The contest, a tribute to one of the pioneers of video art in the world, is part of the 11th version of the Biennial of Media Art (BAM), which this year features an exhibition, an international symposium, workshops, audiovisual concerts, talks a meeting with artists and creative experiences

Creators can participate Media Art artists from different nationalities, with works related to the theme of the biennial curtatorial, and represent through their work, the visual exploration and current technological means.

Registration deadline expires on August 30, 2013.

The Biennial of Media Art (BAM) celebrates its 11th release between October 3 and November 16, 2013 with various activities to be held at the National Museum of Fine Arts.

As in previous editions, the BAM has opened its call for artists and filmmakers to participate in the 11th International Competition for the Creation and Authoring Media Art Juan Downey.

The contest is one of the flagship activities since the beginning of this biennial, and has become a permanent tribute to Chilean artist Juan Downey, considered one of the pioneers of experimental crossing between art, science and technology. This contest has become, over its twenty years (10 issues) a reference in contemporary Chilean audiovisual production. The winning artists in the ten previous editions have extensive international exposure. They are Marcelo Ferrari (I BVAM), Claudio Rojas (II BVAM) William Cifuente (III BVAM) Soledad Ramirez (IV BVAM) Cacciatoria Silvia (V BVAM), Fernando Arredondo and Luis Horta (VI BVAM) Tiziana Panniza ( BVAM VII); Nicholas Grum (VIII BVAM), Nicolas Sanchez (IX BVAM) and Gabriel del Favero (X BVAM).

The application line is medial Arts: Aimed at international filmmakers, video creators art, digital animation and interactive documentaries. This line has a unique prize consisting of an Avid Media Composer Software granted by VGL.

The prize will be awarded by a panel of experts composed of a national and international representative who will participate in the biennial.

Registration deadline expires on August 30, 2013.

All expressions will be accepted as a framework possessing culture and aesthetic graphic video, media art and creative work with contemporary technologies. Contestants must witness a deed authorial intention and creative inquiry in the form of both treatments as the reasons addressed. The video works must have been made after December 2011, and must address the issue of the biennial “Autonomy”.

Selected papers will automatically be part of the media library Chilean Video Corporation, organizer of the Biennial since its inception in 1993.

The complete rules are found in the document: Competition rules JD

Glimpses curatorial program

The curatorial reflects on fields of art and science that corresponding to a contingency intertwined social, cultural, economic and political. Their concern is based on the human being as an integral body, faced with the third industrial revolution (or scientific) in a context of continued survival, surrounded by ghosts industrial post, electromagnetic and GMOs, threatening its survival on earth.

Collect and dialogues with the latest curatorial concepts biennials Media Resistance and Deus Ex. With the first as a manifesto that installs a position on the commodification of art and culture, as opposed to its transforming capacity of human will, and the second, by his provocation towards significance of the work with respect to technology with which it is produced.

Both meetings have had as reflection axis limits of experimental audiovisual production, but above all an attitude of critical reflection on the methodologies associated with the use of science and technology in art. In the 11th BAM AUTONOMY is an invocation to the force that is present in the production communities experimental visual arts, where hacktivism and permaculture, representatives of this art, practicing the invention and powerful management tools emancipation.

Autonomy reflects the ability of the human by proactively and creatively cope in social context, evoking the need for coordinated interaction with other living beings. The concept is installed at a sensitive time for politics in Chile, to develop prior to the presidential and parliamentary elections, where the concept of participation is present with power in the social fabric.

The system proposed biennial curatoria of hybridization between the methodologies of exhibition of visual arts (curatoria) and cinematographic (programming), approaching a possible context reading of works, concepts and dialogue that aims to provoke this meeting. The biennial meeting in if filmmakers of both worlds, and many others who have been interested in quickly this convergence, increasing the complexity of conceptual transit between the works and the general public.

That’s why we decided to form a Curatorial Program, a result of reflection and management of a comprehensive system that conceptually traverse different component sections where hopefully cause a coherent, constructive and that embraces the complexities of media arts practices representing the contingency of identity and society.

As in all the Biennials, its curatorial narrative fields audiovisual transitions from conventional to advanced space exploration, with an axis enrolled in the capacity of the works by interpelar_criticar_transmutar contingency and current state of society through art. The ownership by citizens and institutions of information technology and communication, and participatory technologies are more urgent every day issues in a society that seems to be hypnotized by the media.

Science, Technology and Culture gravitate inseparable in their essential constitution, coupled structurally to human evolution, for better or for worse. Inevitably fields where the biennial fueled his Curatorial Program, but yet in the next version will be evident from programmatic initiatives, knowledge transfer and technological, configured through a process where participants capsized filmmakers and artists a powerful swap contendios and extended production time.

The relationship Autonomy, Energy and Society, will intertwining concepts in relational axes serve as paradigms to understand the art and the state of the domestic and international. The need to identify a curatorial scope that contains various concerns hipervinculdas itself, taken as a criterion basic issues, most video artists and the technological means electrical energy.

The provocation is inscribed in reflection on one of the fundamental sources of animation works, without the intention of evoking a green key. Energy as a phenomenon with the ability to move a body of mass given by the application of a force, creating an analogy with the transformative power of art.

This by the need to identify various agents of change and transformation that identifies a hinge time analog> digital humanity, both cultural, economic, scientific, technological and social in general.

This search energy is closely linked to culture and science in a high-field magnetic focus due to their unpublished results and contents, the search for fundamental answers to humanity.

How to bring this knowledge to a common reflection field? The application of energy through various technologies, and also several variables drastically modified forms of social relations since the industrial revolution, and determine the paradigm that represents the collective development of our communities to digital.

They have been identified as areas of consistent and significant relationship for empowering citizenship and art scene increasingly aware of the need to live collectively and sustainably.

These themes, installed as hipervinculan fields from aesthetics, science and sociology, are interconnected at a time with a number of other fields, such as economy, education, ethics and culture, building a legible and purposeful plot for a community that is in the process of change from the way in which we relate to daily energy key driver for a society addicted and interdependent use and consumption.

This curatorial proposal is presented as a provocation to approach an essential paradigm, which, through a process of continued research, the creation of a collective of interdisciplinary artists, and a program that runs as a system of active relations between contemplation, participation, and auto_aprendizaje experience achieved interpret, process, charting and amplifying a coherent system for both artists and the general public, consisting of two specific approaches: The Process and Experience.

Framing process and adds value to the life cycle of creation and production of the play, moving the exclusive focus of the exhibition process to the research and production, balancing the life cycle in order to recognize and publicize these practices through workshops and other actions, and; Experience focuses public interaction in relation to the works and contents proposed, applying participatory curatorial strategies, both museology and its self-training plan, creating a comprehensive system whose axis is the subject visitors, both physical and virtual.

The importance of John Downey

Juan Downey, visual artist, illustrator, painter, printmaker and video artist, born in Santiago on May 11, 1940, and died in New York, United States, June 9, 1993. Studied engraving at the Workshop 99 and graduated in architecture from the Catholic University in 1961.

In the early sixties, Downey began working with the techniques of video art, a discipline in which pioneered the world by the Korean Paik Nam Jum.

His work is characterized by combining the languages ​​of printmaking, video and installation to raise issues such as the idea of ​​confrontation between Aboriginal and Western cultures, placing his work in the boundaries of art, anthropology, aesthetics and scientific speculation .

Downey also made electronic sculptures in which photoelectric cells activated lights and sounds with the movements of viewers.

Between 1963 and 1965 he attended the Atelier 17 master engraver William Hayter in Paris. They made contact with Roberto Matta. In 1966 he settled in the U.S., where he studied design at the Pratt Institute in New York, then worked as a teacher in that institution until his death. In that city was associated with artists such as Andy Warhol and John Lennon.

Perception group was linked to the Radical Software magazine and had exclusive contract with the famed Leo Castelli Gallery in New York. Juan Downey received more than 30 grants, receiving twice the Guggenheim, Rockefeller and the Organization of American States (OAS).

In 1968 appeared on the market the first home video camera, which acquired immediately.

Such an instrument would mark the most important course of his career: Downey became one of the creators of video art worldwide. His unique style was to take pictures of reality, then, for artistic purposes, manipulated in editing, these videos were used in performances and installations.

Downey held over 46 solo exhibitions and participated in more than a hundred group exhibitions in major galleries and museums worldwide.

Sources: www.artistasplasticoschilenos.cl (National Museum of Fine Arts) and www.portaldearte.cl

The Biennial

The Media Art Biennale, organized by the Chilean Corporation Video, is a space for dialogue between art and technology in the context of contemporary media art, therefore favors the concept of work, production statutes, authorship, reading systems and circulation, as well as the poetic symbolic.

 Since its founding in 1993, has become an important space that accommodates systematic new artistic and cultural practices related to the testing of electronic formats in Chile.

The meeting is a regular showcase on the domestic and international areas of audiovisual and new media artists encourages meeting the category and cares for addressing challenges related theorists contemporary art and new technologies.


For more information
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Web: https://11bienal.dreamhosters.com/

Twitter: @bienal_bam

Facebook: http://www.facebook.com/BienalArtesMediales

Mail: [email protected]

Javier González

Andrés Durán

Fernando Godoy

Constanza Gazmuri

Mauricio Zepeda

Yona Friedman

Camilo Yañez

Javier González Pesce

Rodrigo Araya

Rodrigo Arteaga

Alejandra Perez

Lucas Bambozzi

Trimex

Marco Godhino

Carolina Pino

Nicolas Rupcich

Rosell Meseguer

Pilar Quinteros

Néstor Olhagaray

Catalina Cortázar

José Huamán

Alejandra Pérez

Marie-Caroline Hominal

PlantaBanda

Rodrigo Espinoza

Juan Céspedes

Ronald Mennickent

Edith Dekyndt

CEILOM

Graciela Taquini

Rodrigo Vergara

Centro del Desierto de Atacama, Universidad Católica de Chile (CDA – UC)

Sergio Rojas

Giuliana Furci

Iván Navarro

Ignacio Cuevas

Juan Céspedes

Ronald Mennickent

Carolina Ibarra

Carolina Pino

Jordan Wolfson

Olga Mesa

Atacama Desert Center (CDA)

Demian Schopf

François Chaignaud

Vera Molnar

Manuela Viera-Gallo

Amigo de los insectos

Ultima Esperanza art collective

GIAP: Natalia Arcos y Alessandro Zagato

Ian Wilson

Michael Saup

Marie Cool Fabio Balducci

Gonzalo Ramírez

Claudia González

Nicolás Grum

Cristobal León y Joaquín Cociña

Patricia Domínguez

Simone Chambelland

Ismaïl Bahri

Matthew Neary

Fiona Tan

Matthew Neary

Simone Chambelland

Luis Camnitzer

Francisco Muñoz (Taller Dínamo)

Productora Merced

Hugo Marín

Carlos Pérez

Ian Wilson

Valentina Montero

Angels Ribé

Viviana Álvarez

Ismaïl Bahri

Ignacio Gatica

Geraldine MacKinnon

MICH (International Museum of Chile)

Yona Friedman

Francisco Ruiz de Infante

David Maulen

Felipe Quezada

Neal Beggs

Dynamo Studio

Gaspar Galaz

Iván Navarro

Alumnos del Curso Computación Gráfica IV de Inacap, sede Perez Rosales

Geraldine MacKinnon

Graciela Taquini

Leonardo Portus

Joan Jonas

Michael Saup

Neal Beggs

Mauel Orellana

MICH (Museo Internacional de Chile)

Jordan Wolfson

Millaray Lobos

Millaray Lobos

Giuliana Furci

Nicolás Rupcich

Manuel Orellana

Cristóbal León y Joaquín Cociña

Sybil Brintrup

Bureau d´études

Amigo de los insectos

Mauricio Zepeda

Benoit Billote

Bureau d’études

Camilo Yañez

Cristián Lira

David Maulen

Leonardo Portus

Francisco Vera

Vera Molnar

Ronald Kay

Leo Medel

Última Esperanza Collective

Julio Lamilla

Lizette Guzmán

Fiona Tan

Sebastián Jatz

Jordan Wolfson

Enrique Ramirez

Gabriel del Favero

Ignacio Cuevas

Gerfried Stocker

Carlos Pérez

Olga Mesa

Rodrigo Vergara

Felipe Quezada

Nicolas Grum

Joan Jonas

Pilar Quinteros

Matías Santa María

Michael Saup

Lucas Bambozzi

Sybil Brintrup

Angels Ribé

Colectivo Última Esperanza

Marie-Caroline Hominal

Sebastián Jatz

Ignacio Gatica

Regina de Miguel

Constanza Gazmuri

Regina de Miguel

François Chaignaud

Lea Lublin

Rodrigo Araya

Rodrigo Espinoza

Romy Rementería

Valentina Montero

Margit Rosen

La Merced Productions

Patricia Domínguez

Rosell Meseguer

Demian Schopf

Romy Rementería

Andrés Durán

Cristián Gomez

Marco Godinho

Catalina Cortázar

Margit Rosen

Lizette Guzmán

Julio Lamilla

Gaspar Galaz

Colectivo Última Esperanza

Claudia González

Carolina Ibarra

Margit Rosen

Sergio Rojas

Manuela Viera-Gallo

Benoit Billote

Francisco Ruiz de Infante

Cristián Lira

Trimex

Gonzalo Ramírez

Nestor Olhagaray

Carolina Herrera

GIAP: Natalia Arcos and Alessandro Zagato

Edith Dekyndt

Rodrigo Arteaga

Gerfried Stocker

Matías Santa María

Ian Wilson

Francisca García

Francisca García

Fernando Godoy

Diego Becas

Viviana Alvarez Chomón

Gabriel del Favero

Enrique Ramírez

Luis Camnitzer