MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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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
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C O N T E N T S 0 5 A Guide Through
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MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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