Règles :
1. Seuls les artistes ayant été copiés par un Copain ou ayant copié un Copain peuvent devenir des Copains
2. Les Copains sont libres de copier n’importe quel artiste vivant
3. Les Copies sont des réinterprétations de leurs originaux
4. Les artistes copiés doivent en être notifiés
5. Les Copies doivent être soumises au site du CCC
6. Les Copies sont diffusées sous licence CCC
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The launch of the website will take place during a party at the Gaite Lyrique, Friday, June 7, 7h30pm.
The Copy Companion Club is a club of friends who copy each other.
1. Only the artists who have been copied by a Companion or had copied a Companion can become Companions
2. The Companions are free to copy any living artist
3. The Copies are reinterpretation of the originals
4. The copied artists must be notified
5. The Copies must be submitted to CCC website
6. The Copies are broadcasted under CCC licence
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Premiers Copains de Copie /
First Copy Companions :
Justine Abittan
Annie Abrahams
Annabelle Ameline
Pascale Barret
Alain Barthélémy
Joëlle Bitton
Sebastien Bourg & Sandra Aubry
Nick Briz
Emilie Brout & Maxime Marion
Agnès de Cayeux
Thomas Cheneseau – IN GOD WE TRUST / “€ One Million cash”
Thomas Cimolaï
Arnaud Cohen
Djeff
Caroline Delieutraz
Florent Deloison
Paul Destieu
Bastien Didier
Max Fecamp
Virginie Foloppe
Nicolas Frespech
Pablo Garcia & Addie Wagenknecht
Benjamin Gaulon
Emilie Gervais
Harold Guérin
David Guez
Fabien Guiraud
Lucile Haute
Anahita Hekmat
Anne Horel
Pierre Julian de la Fuente
Alain K
Julien A. Lacroix
Marguerite Lantz
Grégoire Lauvin
Julien Levesque
Filipe Matos
Albertine Meunier
Esteban Ottaso
Esther Polak en Ivar van Bekkum
Nicolas Sassoon
Géraud Soulhiol
Linda Suthiry Suk
Systaime
The exhibition “Cupcake” is a deployment at the size of the virtual world’s spirit, a meeting realized in the act of new artistic and digital practices, a new event where time zones do not exist any more, where the space of the screen is providence, an unveiling, an appearance of our modernity.
More than 50 artists joined together to create with similar curiosity an aesthetic truth which is given in itself.
For Cupcake, names do not have authority anymore, only the unity of contemporary allegorical research without borders, without physical territories that call us 24/7 to new customs, a fictitious game which is only anticipating the logical truth of its ideas.
A strange solidarity is born, a mutual translatability to bring to Spamm a “function” of the third millennium’s poetry, where the sublime expresses itself in the mind of the senses.
We suit no theory, no convention, for your pleasure !
L’exposition “Cupcake” est un déploiement à la mesure de l’esprit du monde virtuel, une rencontre réalisée dans l’acte des nouvelles pratiques artistiques et digitales, une espèce nouvelle où les time zone n’existent plus, où l’espace de l’écran est une providence, un dévoilement, une manifestation de notre modernité.
50 artistes se sont rejoint faisant d’une commune curiosité une vérité esthétique qui se donne d’elle même.
Pour Cupcake, les noms n’ont plus d’autorité, seule l’unité d’une recherche allégorique contemporaine hors frontières, hors territoires physiques nous appelle 24 h / 24h à de nouvelles coutumes, un jeu fictif qui ne fait qu’anticiper la vérité logique des idées .
Une étrange solidarité est née, une traductibilité réciproque pour porter à Spamm une “fonction” de la poésie du troisième millénaire, où s’expriment le sublime dans l’esprit des sens.
Nous ne convenons à aucune théorie, aucune convention pour votre plaisir !
Fach & Asendorf Gallery debuted online in 2011 with these words:
The Internet, it is everywhere. It is here, it is there and it is where you actually are. It is so huge that nobody ever could print it. It is so deep that no one ever would dive to its end. There is peace and war in it, love and hate and all between. Once you have traveled through it, you will never forget, and you will come back, asap.
Since then, Fach & Asendorf Gallery has served 24 online exhibitions of digital and net art to more than 28,000 unique visitors. To celebrate the beginning of their third season, Fach & Asendorf Gallery presents BEST OF, an enormous collection of unreleased and exclusive work by 83 artists from around the world spanning a broad range of formats including applications, videos, and animated GIFs. <b>BEST OF is a whole week of Internet on DVD.</b>
Participating artists:
A Bill Miller, Absis Minas, Alan Butler, Alexander Peverett, Alfredo Salazar-Caro, Andrew Benson, Andrew Rosinski, Aoki and Peverett, Art 404, Bea Fremderman, Brandon Blommaert, Carlos Saez, Charles Chalas, Chris Collins, Christian Petersen, Claudia Mate, Clement Valla and Kyle McDonald, Constant Dullaart, curatingyoutube.net, Daniel Leyva, Daniel Rehn, David Kraftsow, Deanna Havas, Dominik Podsiadly, Emilie Gervais, Emilio Gomariz, Fabien Mousse, Ferestec, Florian Kuhlmann, Francoise Gamma, Fritz Laszlo Weber, Georges Jacotey, Goto80, Grace McEvoy, Hugo Scibetta, Jacob Engblom, Jan Robert Leegte, Jasper Elings, Jerome Saint-Clair, JK Keller, Johannes P Osterhoff, Jon Satrom, Jonas Lund, Jonathan Pirnay and Jörn Röder, jonCates, Jordan Tate, Jörg Piringer, Julien A Lacroix, Lorna Mills, Małgosia Woźnica, Manuel Fernández, Mark Beasley, Mark Durkan, Martin Böttger, Matthew Williamson, Max Capacity, Michael Manning, Mitch Trale, Miyö Van Stenis, Nicholas O’Brien, Nick Briz, Nicolas Boillot, Nicolas Sassoon, Niko Princen, Paul Flannery, Philipp Teister, Rajeev Basu, Raphaël Bastide, Rick Silva, Rollin Leonard, Sara Ludy, Sarah Samy, Sarah Weis, Sebastian Schmieg and Silvio Lorusso, Stefan Riebel, Sterling Crispin, Ted Davis, Theodore Darst, Thomas Cheneseau, Travis Hallenbeck, Yoshi Sodeoka.
MCD vous invite le jeudi 13 décembre 2012, à 19h, à la Gaîté Lyrique, PARIS pour venir découvrir son dernier numéro :
MCD#69 < NET ART – WJ-SPOTS#2 >(Décembre/Janvier/Février 2012) – FR-UK.
Les artistes, critiques, chercheurs et commissaires artistiques, invités à participer à cette publication nous donnent des clés, des repères et des éclairages pour comprendre les différentes formes artistiques qui cohabitent sur la toile, dans ses interstices et ses périphéries. D’un point de vue artistique, les auteurs témoignent de ce qui s’est passé sur Internet ces deux dernières décennies et ils expriment la façon dont ils ont perçu, vécu et traversé cette période. D’un point de vue social, politique et artistique, les participants nous expliquent : comment le réseau a changé leur rapport au monde, à l’espace et au temps, comment il a bouleversé leurs usages, leurs pratiques et leur manière de penser, comment il est devenu un espace de partage, d’échange et de création.
Dans une démarche prospective, ils imaginent les années qui viennent et se demandent si Internet sera toujours un territoire intéressant à explorer dans le futur, s’il sera toujours un terrain fertile pour produire des formes artistiques hybrides où le monde physique et le monde virtuel fusionnent, se frottent et se télescopent.
Les participants proposent aussi une sélection de sites Internet marquants et emblématiques à leurs yeux. Internet est devenu un espace de création et d’exposition incontournable, et cette publication est une invitation à découvrir des œuvres majeures en accès libre et gratuit sur le réseau.
Nous tenons à remercier particulièrement Anne Roquigny (Rédactrice en Chef invitée), tous les participants et partenaires de WJ-Spots, ainsi que le Ministère de la Culture et de la Communication et les annonceurs de MCD pour leur soutien à cette publication.
Au programme de cette soirée de lancement, MCD invite 11 artistes à venir présenter leur travail :
Vernissage et lancement de la première web exposition «La Vanité du Monde»
ARTE, partenaire des Rencontres Internationales, est heureuse de vous convier au lancement officiel du musée virtuel : SPAMM.ARTE.TV (SuPer Art Modern Movement) sur ARTE Creative !
Entre musée atypique, contemporain, et web TV organique, entre monstration et création, SPAMM.ARTE.TV est un projet né de SPAMM et de la demande d’ARTE Creative. Il est signé par Michaël Borras A.K.A Systaime, Thomas Cheneseau, Jean jacques Gay et Juliette Donadieu. Il sera appelé à devenir un lieu de présentation de la création numérique contemporaine à voir autrement.
Car SPAMM.ARTE.TV se propose de réunir les acteurs forts de la création numérique à travers une expérience multimédia qui proposera des événements trimestriels et une actualité hebdomadaire.
Le comité de rédaction composé de l’équipe Spamm, avec la complicité d’Alain Bieber et de Laurence Rilly proposera à une personnalité de les rejoindre pour chaque événement. Dans l’esprit qui a mené à la création de spamm.fr (des artistes exposent des artistes) cet invité sera chaque fois un nouveau créateur connu pour son implication dans les nouveaux médias et sa création singulière.
Entouré de textes monographiques sur les artistes et d’analyses documentées sur les pièces exposées, SPAMM.ARTE.TV propose de « montrer » et de « collectionner » l’art des réseaux autrement.
Cette plateforme propose d’exposer chaque trimestre une sélection de 15 artistes internationaux dont les œuvres vivantes sont le reflet d’une performance web, graphique,technologique, conceptuelle ou/et sociale.
WE INVIT YOU TO DISCOVER THE WEBSITE SPAMM.ARTE.TV AND THE FIRST EXHIBITION VANITY.
This platform intends to expose each quarters a selection of 15 international artists whose works are a reflection of modern performance web graphic, technological, conceptual and/or social.
ARTISTS :Claude Closky : Good Direction / France | Maurice Benayoun : Occupy Wall Screens / France | Pauline Marx : Big Bad / France | Sarah Weis : Internet Life Horoscopes / USA | Jasper Elings : For the Love of God / Hollande | Harvey Moon : Slow Scan / USA | Grégory Chatonsky : Somewhere / Canada | Jankenpopp : Toxic / France | Jeremy Bailey : Transhuman Dance Recital / Canada | Jeremy Bailey : Transhuman Dance Recital / Canada|Systaime : Neticones / France | Philip Teister : ZAP / USA | Aurélien Bambagioni : Comeback / France / Françoise Gamma : Fractura / Espagne | Helen Adamidou : Pink / Allemagne | Anthony Antonellis : Bliss / USA |
Madeleine Aktypi and Nicolas Frespech with Poptronics
Artists
Annie Abrahams – Pierre Alferi – Andreas Angelidakis – Pascale Barret – Zoe Beloff – Sarah Bodman – Harry Burke – Lucille Calmell – Marco Cetera – Thomas Cheneseau – Claude Closky – Clôde Coulpier – Serge Comte – Carla Demierre – Maurizio Di Feo – Constant Dullaart – Emmanuelle Gibello – David Guez – Jodi – Jérôme Joy – Olga Kisseleva – Silvio Lorusso – Jonas Lund – Miltos Manetas – M.E.R.C.U.R.E. – Albertine Meunier – Rosa Menkman – Eva Papamargariti – Gabriel Peyre – Angelo Plessas – Jim Punk – Sebastian Schmieg – Rafaël Rozendaal – Yoshi Sodeoka …
Project Octopus / / towards an online exhibition
Projet Octopus °°a self-growing exhibition with tentacles gradually extending all over the globe / online opening October 22, 2012 – expiry date unknown –<
Am I an octopus? William Burroughs’ question may seem unlikely but it is not really. Not if you consider that cunning and polymorphic animal. Think of the fearsome creature of Twenty Thousand Leagues Under the Sea or the "sweet virtue of communication" of Lautréamont’s octopus or even the aquarium octopuses that Jean Painlevé filmed, not to mention the cephalopod’s erotic couplings as depicted by Hokusai. These molluscs attract the attention of artists and excite the imagination of scientists. These invertebrates show their true colors: they exhibit their emotions directly on the surface of their skin. Plastic and changeable, the octopus is "a mutant visuality" (W.B.) attuned to real-time display. It is the ultimate visual animal. Equipped with a multitude of neurons distributed all along its 8 tentacles, the octopus preaches decentralized thinking. Endowed with a memory that scientists call spatial, the octopus is also capable of tracing amazing trails.
Throughout the summer and until the "Forms and processes" Symposium (26 and 27 November 2012, Centre Rabelais, Montpellier) the School of Fine Arts of Montpellier and the team of pratiquesetnumerique.com – in partnership with Poptronics.fr, which celebrates its 5th year anniversary – invites artists, researchers and journalists to stage an online exhibition, the Projet Octopus.
Based on an idea by Nicolas Frespech, the exhibition unfolds in two phases. Participants are first asked to answer a list of questions. Once completed and forwarded, these forms will determine the artworks shown and will serve as the exhibition catalog. Shared externalization / distributed existence.
The Cermâ exhibition space occupies that fascinating area between internet appearance and cultural institution. It exists in both the built and the virtual environment. In the virtual part, which happens on the internet, everything is digital. Cermâ explores the possibilities that arise through this and look into a digitalised future.
SPAMM @ Cermâ it’s a guest exhibition curated by SPAMM (SuPer Art Modern Museum), which displays tendencies within the current digital art. Anthony Antonellis, Jasper Elings, Emilio Gomariz e Michael Manning will present their work in the first part of the two-part exhibition in SPAMM’s virtual project room. They all create animated GIFs and sculptures for a virtual space.
Augmented Mimesis
#1: GIFs – new sculptures of the digital avant-garde
»Visual arts have entered a new era. It’s a place where immediacy rules, where visual arts becomes virtual«, promises the Super Art Modern Museum, or SPAMM for short. Michaël Borras aka Systaime and Thomas Cheneseau founded the online museum in France, albeit that geographical information is practically irrelevant in the internet era. Borras and Cheneseau present more than 50 works from the `community´, another concept that does not follow geographical frontiers. Eight of these works can now be seen at CERMÂ in two parts. The new `Digital Art Avant-garde´ discovers each other, receives and produces, communicates and grows. This is a scene that is not accessible to everyone, nevertheless extremely productive.
All over the world, new artistic positions arise that evade the ›White Cube‹: animated GIFs, Glitches, web based conceptual art, three-dimensional animations. Institutions have grown around digital art, real and virtual spaces such as the Rhizome at the New Museum in New York, the MACBA in Barcelona and the Berlin based Transmediale give these positions a stage and an audience. Pixels are the material artists use to paint and shape, realizing their aesthetic visions.
But can we herald the beginning of a new era, or is this just a handful of nerds who place some virtual artefacts here and there on the web? It seems quite apropos to use a commonplace cliché: one imagines pale, socially awkward creatures suffering from a lack of sunlight who sit in a darkened basement staring at brightly illuminated screens, typing furiously and moving pixels. The reason why digital art has not yet found its way into lounges, the ›white cubes‹, the living rooms of the postmodern society, may partially be explained with this stereotype.
However, there is nothing wrong with being seen as a nerd. This stereotype allows young artists to experiment and can also become the material for humorous self-reflection. Jeremy Bailey, who was part of the previous CERMÂ exhibition, likes to poke fun at the typical nerd and the whole spectrum of media art. He creates pixel sculptures, which he integrates in video clips as overlays to his body and comments ironically.
A guest exhibition curated by SPAMM displays tendencies within the current digital art. Four artists work in the first part of the two-part exhibition in SPAMM’s virtual project room. They all create animated GIFs and sculptures for a virtual space.
Anthony Antonellis lives and works on the internet, as his short biography states. His work is called ›beholdbehold‹ two GIF sculptures placed next to each other. They adapt the typical art exhibition to a digital environment. Antonelli displays dancing patterns, Windows emblems and radiant dots chasing in the viewer’s direction in a virtual showcase. This hypnotic screensaver aesthetic becomes art.
The second work cannot be interpreted at first sight. On top of a marble texture pedestal, a rectangular box rotates slowly around its axis, around the edges, stripes of a picture with flowers can be seen. Maybe a photograph, maybe a photorealistic illustration – in the digital era realism replaces reality. Much more than the flowers, the structure of bricks or pieces of concrete characterizes the appearance. Antonellis toys with the possibilities of computer illustration, the brick character of virtual realities, the virtual mimesis, which means not only the remodelling of reality but also the expansion of it.
In an email to Manuel Rossner, the founder of CERMÂ, he described his inspiration: »I went through a period of time where I felt real objects should become GIFs. Sort of like found objects that were replicated, photographed, or recreated digitally. The sculpture on the right was an object built to mimic something I saw in real life, an object that I felt looked as though it must have come from the internet. Basically it is sidewalk tiles in a display at a Baumarkt in Weimar. The display case was just a metal frame, but the frame had a giant photograph of flowers printed on it. I recreated it as a solid shape using images from the internet, and used a photograph of the real tiles for the centre. Someday I’d like to see a real 3D version of it being built, but for now, the internet is a good home.«
The ›objet trouvé‹ reverberates also into digital art, albeit as a virtual replica of the object. In 1917, Marcel Duchamp started a discussion about what can be art with ›Fountain‹, a urinal presented as a sculpture; this defined the start of a new era in fine arts.
»Invisible “O”bject« is the title of Emilio Gomariz’ work. It is visible (disregarding the title), but only on second sight: In front of the gray and white checkerboard background from the image editing software Photoshop, which is the atelier of many digital artists, a transparent ring, almost like a doughnut, rotates. This requires some concentration because the ring does not manifest itself at a casual glance. The longer one focuses on the rotating ring, the more one would like to grab it. In CERMÂ’s project room this sculpture gains some height, it almost reaches the floor and the ceiling – a gigantic virtual Op Art object.
Michael Manning gives room for interpretation, the title »She was everything« does not correspond with the five plains lying over each other, flat rectangular panels that float with some distance between them and move synchronously. On the surface of the slightly transparent plains wood, water and a sky with white clouds can be seen. Besides its shape and array, the second panel irritates the viewer. It looks like a nubby steel sheet, but in its centre, a drop of water seems to cause concentric waves. All the other panels also have this concentric wave pattern, which creates an effect as if water had seeped through the sculpture.
Manning wrote to Manuel Rossner about his position: »The piece conceptually is about the collapse of the natural and technological. the idea being that they are one in the same. Each layer of the GIF represents a different natural element and the 5th being humans or technology. The animation is meant to show their overlap, blending and perpetual interconnected nature. My work focuses on the augmentation and distortion of our perception of reality by technology and the deconstruction of the false divide between the natural and technological.«
Manning turns nature into a flat visual trace, the constructed aesthetic and its artificial movement contrast the affectionate title and dominate the work. The virtual element, to which our reality is gradually moving, is stronger.
The fourth work is of a more concrete nature: a three dimensional skull rotates quickly around its axis, in the background there is a freeze of Englishman Damien Hirst’s famous diamond-encrusted skull. Jasper Elings titled this work »For the Love of God» which alludes to religious fantatism. With his explicit appropriation of Hirst’s masterpiece, he hints at the art market. Fanatism is part of the art market – a kind of madness that dies out in a new era of art?
Digital art on the internet can often be acquired for free. This challenges traditional concepts of authorship, aesthetic and reception. These concepts root in Modernism and have barely been challenged by Postmodernism. Digital art does not quite fit these concepts. The SPAMM manifesto has found an answer to this: »(…) if ›contemporary art‹ isn’t ›from today‹ anymore, but just a continuing period of the XIX° century ›modern art‹, we can proclaim – without hesitation – the existence of the Super Modern Art.«
For this 4th edition Les Transnumériques, Thomas Cheneseau and Systaime have created the event with a large IRL exhibition of works selected on SPAMM.FR
May 02 to May 20, 2012 SPAMM IRL EXHIBITION@ GALERIES
Palle Torson / Yann Weissgerber / Jankenpopp / Jon satrom / Rosa Menkman / Eva and Franco Mattes / Miyö Van Stenis / Jennifer Chan / Systaime / Evan Roth / Daniel R Leyva / Constant Dullaart / Adam Cruces / Daniel Swan / Jonathan keller keller / Travess Smalley / Sarah Weis and Arturo Cubacub / Thomas Cheneseau / Rick Silva / Rene Abythe / Max Capacity / Emilie Gervais / Jasper Elings / Emilio Gomariz / Martin Cole / Anthony Antonellis / Samantha Harvey / Chris Collins / Lorna Mills / Sara Ludy / Françoise Gamma / Annie Abrahams
