MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

More documents

Recommendations

Info

T O M H E E N E °1969, G H E N T E theoumek@ gmail.com W theoumek wordpress.org W darkmatr.be W imal.org/saltlake Tom Heene is an audiovisual artist developing multidisciplinary projects in film and in digital arts. He has worked with choreographers, visual artists, scientists and code artists on interactive environments using digital tools. In 2009 he collaborated on an Art&D research project funded by the Flemish Interdisciplinary Institute for Broadband Technology (See also section on Innovation). His latest installation DarkMatr is a result of this research and an ongoing project. The issues in Tom’s media work are about questioning the human relation with new media, data mining the internet, storytelling and creating alternative cinematic experiences. For 2011 and 2012 he received a funding for his research on storytelling and participation in film and new media arts. In film, Tom is active as a director, assistant director and production manager. He worked on movies made by filmmakers like Alain Berliner, Frédéric Fonteyne, Philippe Falardeau, Olivier Smolders, Jürgen Leth & Lars Von Trier. In the year 2011 he will complete the production of his own feature film Welcome Home. Tom has assisted in various workshops linking new media with the performing arts. He has worked as a production manager on several art exhibitions and often collaborates with Brussels based iMAL (see section on Art Organisations). He is a founding member of the ‘RGB~Toysband’, a collective of performers using electronic toys as instruments to play with in public spaces. Tom is also part of the artists collective ‘r-Ohm’ which reflects on visual arts, new media, biology, food and economics. DarkMatr, Ongoing project (2009-2011) © Tom Heene 5 5
N AT H A L I E H U N T E R º 1967, W I L R I J K A Hoogstraat 69a 2 861 Onze-Lieve- Vrouw Waver T +32 (0)496 222 327 E info@ nathaliehunter.com W nathaliehunter.com Nathalie Hunter’s work as a painter is structured by the will to integrate it in daily life and reality. This will takes its departure from the idea that, because of its significant history and because it has been declared dead more often than alive, painting might appear quite odd today. Going from the idea that we must study the past in order to liberate ourselves from it, Hunter considers what might happen if habitual categories such as intention, subject or even perception were systematically – or randomly – displaced. By using extant technical systems like the internet to construct meetings, conversations and interactions, Hunter is ‘enframing’ the process of painting as a collective, communicative event (challenging the idea that painting is a solitary activity). She designs and deploys a heterogeneous register of digital and interactive technologies, digital communication systems that allow her to engage and interact with individuals and communities, inviting them to action. The trace of this event becomes the painting. With her work Hunter opens a new space for painting. Her work brings about an abnegation of the artefact as a complete, referential, or self-sufficient thing. (Thomas Zummer) Wunderkammer (2007) from the series wunderkammer Wall painting, marker, paint, pastel and high gloss 5 6
Page 1 and 2:
M E D I A D I G I TA L I N A N D F
Page 3 and 4:
C O N T E N T S 0 5 A Guide Through
Page 5 and 6: A G U I D E T H R O U G H T H E L A
Page 7 and 8: I N T R O D U C T I O N BAM Flemish
Page 9 and 10: M E D I A A R T I N F L A N D E R S
Page 11 and 12: T O W A R D C R O S S - D I S C I P
Page 13 and 14: M E D I A A R T I N F L A N D E R S
Page 15 and 16: “I am a media artist. Mass media
Page 17 and 18: immersion may occur without any of
Page 19 and 20: N O E X T E R I O R Asselberghs dem
Page 21 and 22: combines video and film with public
Page 23 and 24: In 2009, a year after its release,
Page 25 and 26: P L A C E F O R E X P E R I M E N T
Page 27 and 28: or experiences outside the familiar
Page 29 and 30: for Broadband Technology - already
Page 31 and 32: L I E S B E T H H U Y B R E C H T S
Page 33 and 34: H E R M A N A S S E L B E R G H S
Page 35 and 36: P E T E R B E Y L S º 1 9 5 0 , K
Page 37 and 38: B O U T I Q U E V I Z I Q U E º 2
Page 39 and 40: W I M C AT R Y S S E º 1 9 7 3 , L
Page 41 and 42: C R E W/ E R I C J O R I S A Vander
Page 43 and 44: B R E C H T D E B A C K E R E º 1
Page 45 and 46: A N O U K D E C L E R C Q º 197 1
Page 47 and 48: F R E D E R I K D E W I L D E º 19
Page 49 and 50: A L E X A N D R A D E M E N T I E V
Page 51 and 52: N I C K E R V I N C K º 1981, ROES
Page 53 and 54: P I E T E R G E E N E N º 1979, H
Page 55: K U R T D ’ H A E S E L E E R º
Page 59 and 60: W I M J A N S S E N °198 4, K A PE
Page 61 and 62: L A W R E N C E M A L S TA F º 1 9
Page 63 and 64: V I N C E N T M E E S S E N º 1 9
Page 65 and 66: H A N S O P D E B E E C K ° 1 9 69
Page 67 and 68: N I C O L A S P R O V O S T º 1 9
Page 69 and 70: J A S P E R R I G O L E º 1 9 8 0,
Page 71 and 72: TA L E O F TA L E S 2 0 0 2 E telle
Page 73 and 74: H A R A L D T H Y S & J O S D E G R
Page 75 and 76: G U Y V A N B E L L E º 1 959 A Ko
Page 77 and 78: E S T H E R V E N R O O Y º 1 9 74
Page 79 and 80: K R I S V E R D O N C K 1 9 74 A Sa
Page 81 and 82: T I M V E T S º 1 9 74, A N T W E
Page 83 and 84: V I S U A L K I T C H E N 1 9 9 7 A
Page 85 and 86: W O R K S P A C E U N L I M I T E D
Page 87 and 88: A R T O R G A N I S AT I O N S 8 6
Page 89 and 90: A R T E F A C T A Naamsestraat 96 3
Page 91 and 92: B E U R S S C H O U W B U R G V Z W
Page 93 and 94: C I M AT I C S A ACB Factory Rue Ba
Page 95 and 96: Jeugdtheater, KHLIM Media & Design
Page 97 and 98: C O N T O U R A Sint- Romboutskerkh
Page 99 and 100: D E W E R K TA N K A Hoogstraat 33
Page 101 and 102: F O A M A Koolmijnenkaai 30/34, 1 0
Page 103 and 104: I M A L A Koolmijnenkaai 30 1 080 B
Page 105 and 106: L O G O S F O U N D AT I O N A Offi
Page 107 and 108:
N A D I N E A (Plateau): Herdersstr
Page 109 and 110:
O K N O A Koolmijnenkaai 30/34, 1 0
Page 111 and 112:
Q - O 2 A Koolmijnenkaai 30 -34, 1
Page 113 and 114:
S T U K A Naamsestraat 96 3000 Leuv
Page 115 and 116:
T R A N S D I G I TA L E info@trans
Page 117 and 118:
Z 3 3 A Zuivelmarkt 33 3 500 Hassel
Page 120 and 121:
T R A I N I N G , E D U C AT I O N
Page 122 and 123:
E X P E R T I S E C E N T R E F O R
Page 124 and 125:
D I G I TA L A R T S A N D E N T E
Page 126 and 127:
I M E C A imec Belgium Kapeldreef 7
Page 128 and 129:
I N S I T U 3 — R O YA L A C A D
Page 130 and 131:
M A D - F A C U LT Y — C - M D
Page 132 and 133:
S I N T L U C A S A N T W E R P —
Page 134:
T R A N S M E D I A — S I N T - L
Page 137 and 138:
T H E A G E N C Y F O R A R T S & H
Page 139 and 140:
F L A N D E R S D I S T R I C T O F
Page 141 and 142:
M E D I A D E S K B E L G I U M - F
Page 143 and 144:
F L A N D E R S A U D I O V I S U A
Page 145 and 146:
C O L O P H O N P U B L I S H E R B
show all

MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?