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
:

Web: https://11bienal.dreamhosters.com/

Twitter: @bienal_bam

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

Mail: [email protected]

Francisca García

Gaspar Galaz

Cristóbal León y Joaquín Cociña

Lizette Guzmán

Valentina Montero

Ian Wilson

Carolina Ibarra

Mauel Orellana

Edith Dekyndt

Ignacio Cuevas

Fiona Tan

Jordan Wolfson

Fiona Tan

Millaray Lobos

Pilar Quinteros

Leonardo Portus

Andrés Durán

Ronald Kay

Cristián Lira

Alejandra Perez

Demian Schopf

Giuliana Furci

Trimex

Angels Ribé

Hugo Marín

Manuel Orellana

Cristobal León y Joaquín Cociña

Francisco Muñoz (Taller Dínamo)

Patricia Domínguez

Gerfried Stocker

Sergio Rojas

Graciela Taquini

Constanza Gazmuri

Yona Friedman

Marie-Caroline Hominal

Gerfried Stocker

Productora Merced

Gabriel del Favero

Romy Rementería

David Maulen

Luis Camnitzer

Andrés Durán

Giuliana Furci

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

Javier González

Michael Saup

La Merced Productions

José Huamán

MICH (International Museum of Chile)

Ultima Esperanza art collective

Rodrigo Arteaga

Joan Jonas

Vera Molnar

Pilar Quinteros

François Chaignaud

Jordan Wolfson

Nicolás Grum

Margit Rosen

CEILOM

Alejandra Pérez

Rodrigo Espinoza

Ronald Mennickent

Francisco Vera

Fernando Godoy

Catalina Cortázar

Ian Wilson

Bureau d´études

Néstor Olhagaray

Leo Medel

Viviana Alvarez Chomón

Rodrigo Vergara

Matthew Neary

Francisco Ruiz de Infante

Lizette Guzmán

Michael Saup

Neal Beggs

Geraldine MacKinnon

Claudia González

Olga Mesa

Nicolas Grum

Regina de Miguel

Sybil Brintrup

Enrique Ramírez

Matías Santa María

Enrique Ramirez

Marco Godhino

MICH (Museo Internacional de Chile)

GIAP: Natalia Arcos and Alessandro Zagato

Margit Rosen

Simone Chambelland

Ignacio Cuevas

Colectivo Última Esperanza

Millaray Lobos

Francisco Ruiz de Infante

Matías Santa María

Ismaïl Bahri

Rosell Meseguer

Yona Friedman

Matthew Neary

Felipe Quezada

Gonzalo Ramírez

Camilo Yañez

Carlos Pérez

Rodrigo Arteaga

Julio Lamilla

Rodrigo Araya

David Maulen

PlantaBanda

Francisca García

Trimex

Amigo de los insectos

Regina de Miguel

Nestor Olhagaray

Benoit Billote

Manuela Viera-Gallo

Rosell Meseguer

Michael Saup

Última Esperanza Collective

Gonzalo Ramírez

Fernando Godoy

Rodrigo Vergara

Angels Ribé

Ismaïl Bahri

Ignacio Gatica

Leonardo Portus

Marie Cool Fabio Balducci

Atacama Desert Center (CDA)

Carolina Pino

Rodrigo Araya

Olga Mesa

Geraldine MacKinnon

Amigo de los insectos

Diego Becas

Valentina Montero

Claudia González

Gabriel del Favero

Graciela Taquini

Jordan Wolfson

Mauricio Zepeda

Constanza Gazmuri

Demian Schopf

Lucas Bambozzi

Marie-Caroline Hominal

Sybil Brintrup

Camilo Yañez

Romy Rementería

Juan Céspedes

GIAP: Natalia Arcos y Alessandro Zagato

Carolina Pino

Manuela Viera-Gallo

Iván Navarro

Colectivo Última Esperanza

Edith Dekyndt

Viviana Álvarez

Nicolás Rupcich

Carolina Ibarra

Juan Céspedes

Sebastián Jatz

Ronald Mennickent

Catalina Cortázar

Julio Lamilla

Gaspar Galaz

Felipe Quezada

Nicolas Rupcich

Sebastián Jatz

Lucas Bambozzi

Cristián Gomez

Dynamo Studio

François Chaignaud

Neal Beggs

Joan Jonas

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

Bureau d’études

Simone Chambelland

Ignacio Gatica

Sergio Rojas

Margit Rosen

Lea Lublin

Iván Navarro

Rodrigo Espinoza

Patricia Domínguez

Carlos Pérez

Marco Godinho

Cristián Lira

Carolina Herrera

Vera Molnar

Luis Camnitzer

Benoit Billote

Javier González Pesce

Mauricio Zepeda

Ian Wilson