Land: Translation |

(29 – 30 June) – DRIVE-IN MOVIE THEATRE PARK LOT

(29 June)

The status of new forms of visual communication in China , what does the encounter of national aesthetics and homogenized visual formats produce?

What kind of visual units has art singled out through sampling and appropriation of popular images/iconography in China and how does this inform new methods of expression, communication, interaction? How do popular syntax and corporate intelligence mediate their identity within a new geography of cultural translation, transnational nature of networking and creative labour?

NOTE:

Integration of concomitant Transdisciplinary Research Group on Creative Industries in Beijing (CIB),

Mobile Research Laboratory, Mobile Research Laboratory, Beijing , http://orgnets.net

Coordinators: Ned Rossiter, Bert de Muynck, Mónica Carri?o

Network Ecologies, Counter-Anthropologies, Aesthetic Regimes

Speakers:

•  Associate Professor Brett Neilson, Centre for Cultural Research, University of Western Sydney

•  Dr Soenke Zehle, Transcultural Anglophone Studies, University of Saarland

Chair: Ned Rossiter

(30 June)

SCREENING PROGRAMs

1) BODIL FURU ( NORWAY )

Screening: “12 Studies on Shit”, 2007

2) Semiconductor ( UK )

3) BORDERLINE SELECTION - LABLAND by Berlin collective Pfadfinderei ( GERMANY )

DURATION: 64 minutes

The Labland Experience
History has its breaks, history goes on and from time to time, a new art form is born. One hundred years of cinema, fifty years of television, twenty five of music video: by the turn of the millenium, the total art dream, visual music, has become a reality. Of course, one could want to connect VJing with abstract experimental cinema, Oskar Fischinger's work for example, but this would be forgetting that fifteen years ago a wall collapsed in Berlin . Visual music is not a new fade, it's an art of the XXIst century.
Some of them were children, some of them teenagers, some of them young adults. In a city that was welding, grafting itself, little groups of pathfinders were discovering the multiple ways that will lead them to visual music. Musicians, programmers, typographers, graphic designers, video makers, the Pfadfinderei united in small groups; they merged. Within six years, the collective is formed, reinforcing and strengthening itself as a crystallizing snow flake does. By the end of 2002, they are seven.

In the meantime Berlin was becoming the capital of the burgeoning visual music art. An edgy techno scene was building itself up. A town was transforming itself into a huge opencast working site. This particular architectural laboratory context could not be without influence on the work of the Pfadfinderei.
A last encounter was to make: two musicians called the Modeselektor. Since then, a close collaboration between sound and vision, music and movement could start. During the Lab.land parties their visual jam sessions process is exposed in playing sounds and motion pictures live.