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Media Art Exhibition “Media/Art Kitchen : HACK TOUR
Identifier
01EXH-01-2013-12-VDO-14
Format
VDO
Title
Media Art Exhibition “Media/Art Kitchen : HACK TOUR
Date (s) of description
23-03-2018
Remainder of title/subtitles
Artist (s)
Curator (s)
HATTORI Hiroyuki, OKAMURA Keiko, AIDA Daiya, Pichaya Suphavanu, Nikan Wasinondh
Year (YYYY)
Collection Types
Activities Types
Extent and medium of the unit of description
1 Video
Name of main creator (s)
Name of co-creator (s)
Administrative or Biographical history
Archival history
PROJECT CONCEPT (Bangkok Version)
Media Shapes Mind: Mind Shapes Choice: Choice shapes Future
The Philosopher Nicolas Zurbrugg suggests that there are “Three defining characteristics of postmodern culture: its existential shifts, its conceptual shifts, and its technological shifts”. These shifts have already been occurring all across geographies where our post-media condition producing new cultural habits and social conditions constructing an alternative structure that surfaces up diversity of needs. In this puzzling democratic world of technology, the phenomenon lies simply at choosing out of unlimited choices. In this condition, it shows a foundation of vast information that we now more than ever could find multitude of ways to mutual cross-fertilizations. It is a foundation of an exploring ground establishing vocabularies to define new behaviors that are a result from new constructed information, new knowledge, and new creativities. This phenomenon makes apparent that technology has been here, long enough to established its own realm, creating web that seeps into various aspects of life and shapes they way we live and perceive.
With this on-going social and cultural condition, Media/Art Kitchen- Reality Distortion Field in Bangkok proposes media art, not as the hype of the new, but it is the existing norm that indicates how we live with technology to conjuring up the new. ‘Media Shapes Mind: Mind Shapes Choice: Choice Shapes Future’ is a ‘user-generated-content’ attitude to suggest audience a personal viewpoint towards media and technology and the outcomes of what the artists have fused themselves into. It is an idea proposing to steer away from the concept of technology as newness or seeing art using technology as a tool, to art as life living with technology. It aims toward how we live in aesthetic of how it works, in what behavior it creates, and what context it nurtures rather than how it looks. It shows a humanistic side of codes and information without changing its nature. It proposes a bountiful ecology of systems, processes, relationships, participations, and networks rather than fixed objects. It utilizes a space where there could be alternative perception, physicality, or form to grab on reality. And it lends a platform for sharing plurality of competing behavior, and subjective narrative structure as opposed to telling a story from a legitimized content.
‘Media Shapes Mind: Mind Shapes Choice: Choice Shapes Future’ is then an open-ended concept to support the essence and attitude from Media/Art Kitchen- Reality Distortion Field that is not blind attitude towards technology or to pay homage to technology rather it is a suggestion to perceive media, technology, and its culture not as a threat but as an everyday attitude, and as an extended personal potential to find connection with arts and to seek a meaningful experience in everyday living, to take a conscious advantage of life in technological era. As kitchen suggests a place for process and action, the project aims to be a platform of on-going operations of thoughts, ideas, and experiences to instigate a special mindset that challenges the existing boundaries between vocabularies, disciplines, and thinking structures to pave a place for art forms (from either audiences or artists) that could arise from the stimulation of the art in the kitchen itself.
In this installation, a small model train carrying an LED light slowly travels around the room along a set of tracks. Shadows of the objects arranged along its path are projected onto the surface area of the room as the train continues on its journey --crowds of people, cityscapes, tunnels. The Tenth Sentiment is an award-winning work that brings together light movement and shadow in a quiet and controlled manner. The (technical) system employed to realize this work is simple and straightforward, while the work itself is able to evoke sentimental and nostalgic responses in the audience's mind, without revealing any specific narrative. The projected shadows create the effect of an immersive screening system or a cave; in the darkness, we may also feel as though we are on a moving train. On the other hand, we can also at times see the entire mechanism that makes up the installation: daily commodities arranged in certain ways, highlighted by a single moving light source. We can assume first-person (subjective) and third-person (objective) points of view simultaneously or separately. What we irresistibly "sense and read" in the system creates the contents of the work.
From the concept of hacking culture, by using selected artworks in the exhibition as examples, the tour will go behind the essence of hacking method behind the works for audience to understand the process and production of media arts.
Note of Activity/ Exhibition’s Participants or Sponsors
Speakers : Nattapol Suphawong (Interactive Media Professor), Wit Pimkanchanapong
Immediate source of acquisition or transfer
Scope and content
Event Date: 21 December - 16 February 2014
Location: Main Gallery, 7th floor,5th floor and 3rd floor
Appraisal, destruction and scheduling information
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Physical characteristics and technical requirements
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Existence and location of originals
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Related units of description
VDO
Publication note
Note(s)
Archivist's Note
PARTICIPATED COUNTRIES: Japan Indonesia Malaysia Philippines Vietnam Singapore
Rules or conventions
Specific access points
Keywords
Exhibition, Artists, Arts, Media/Art, Motion pictures, Animation (Cinematography), Photographs, Sounds, performance
Level of description: Fond, Series, File, Item
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