"Famous Turkish sculptor İlhan Komanís boat Hulda arrives in İstanbul, its final destination, after its long journey which began in Stockholm. Hulda was both Komanís home and studio during his residence in Stockholm.
The exhibition consists of the photographs and videos from Huldaís journey, 10 original sculptures such as Whirlpool and Dervish by İlhan Koman and a video -dedicated to İlhan Koman- by young artist Candaş Şişman. The photographs and videos are from the cities Hulda visited during its journey -Stockholm, Amsterdam, Bordeaux, Lisbon, Barcelona, Naples, Malta, Thessalonica and İstanbul. The exhibition in Plato Art Space is also the final leg of the activities of Hulda Festival (www.huldafestival.org).
The exhibition is also undertaking the mission of building a bridge between young generation artists and Koman by presenting Candaş Şişmanís work. Şişmanís video Flux is influenced by Komanís sculptures (Pi, Moebius, Whirlpool and Ogre) and is dedicated to İlhan Komanís inspiring art. The video has a sound design which is also inspired by the materials of Komanís sculptures and is produced by Candaş Şişman.
The exhibition is curated by Yıldırım Arıcı and accompanied by a reader (published by Plato College of Higher Education) and it is featuring texts by «etin Kanra, Aykut KŲksal, Abidin Dino, Ferit EdgŁ, Burcu Beşlioğlu and a poem by Oktay Rıfat. "
(Plato Art Space, İstanbul contemporary art)
Fig.1 "Flux", Candaş Şişman, Hulda Festival 21 September 2010 - 23 November 2010 İstanbul, Turkey.
"this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.
it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.
the focus is on the time period from the beginning of the 20th century up to today."
(Nina Wenhart, 26/06/2008)
"Dear Computer, is the quest for beauty in algorithmic randomness. Using various tools we're trying to create surprising results in the field of generative art."
"The stark videos of Brandon Morse present the viewer with exercises in tension, set tableaux in which structures morph and twist under physical constraints. Stripped-down architectural forms that ought to exhibit the rigidity of highrise buildings instead engage in a tug-of-war, the result of a string simulation distributing kinetic force through a network of nodes."
(Marius Watz, 09 April 2008, Generator.x)
"Generator.x is a conference and exhibition examining the current role of software and generative strategies in art and design [... it] is a curatorial platform exploring the use of generative strategies and software processes in digital art, architecture and design. It focuses on a new generation of artists and designers who embrace code as a way of producing new forms of creative expression.
Computational strategies are having an impact in many creative fields. Generator.x was set up to examine the following topics in particular:
Generative aesthetics: How can generative strategies successfully be applied to aesthetic problems? Whether the aim is provide a design solution or simply to explore the dynamic qualities of a given system, the process requires translating intuitive creative choices into rules and machine-readable code. What are the criteria for an interesting solution, what parameters and boundary conditions can be manipulated to produce satisfying results?
Designing processes: A computational approach to design changes static objects into dynamic processes. What implications does this have for design and architecture, whether used for analysis, aesthetic expression or information visualisation?
Performative software: Musicians and visual performers are using generative systems to create custom software instruments for live performance, as well as to produce direct synaesthetic mappings between sound and image. How can a software instrument approach the complexity and expressive range of a physical instrument that has been perfected over centuries?
Software by creatives for creatives: Artists and designers are increasingly creating their own software to meet special needs not covered by commercial packages, sharing their results as Open Source."