el proceso como paradigma Susanne Jaschko
Curator of the exhibition 'el proceso como paradigma'
el proceso como paradigma Henrik Menné
Born in Denmark, 1973. Works as a sculptor
el proceso como paradigma Antoine Schmitt
Artist, programming engineer and designer
el proceso como paradigma Jan-Peter E.R. Sonntag
Jan-Peter E.R. Sonntag is an artist focusing mainly on media art-based installations
el proceso como paradigma Jelte Van Abbema
Born in The Netherlands, 1982
Jelte van Abbema
el proceso como paradigma Driessens & Verstappen
Born in The Netherlands in 1963 and 1964, repectively
el proceso como paradigma C.E.B. Reas
C.E.B. Reas lives and works in Los Angeles
el proceso como paradigma Isabelle Jenniches
born in Germany, 1971. Lives and works in USA
el proceso como paradigma Gregory Chatonsky
Born in France, 1971. Lives and works in Canada
el proceso como paradigma Luna Maurer
Trained as a Graphic Designer, Luna Maurer works as an independent designer in the field of interaction and media design in Amsterdam.
el proceso como paradigma bit.flow mk2, 2007-2008
Mixed media Courtesy: Dogenhaus Galerie, Leipzig
el proceso como paradigma Hello Process!, 2006-2010
Computer, dot matrix printer, chain paper and ink Supported by: Mondriaan Foundation, Ámsterdam; Sign; Provincie Groningen A.I.R; Gemeente Groningen; Stichting Roode-of Burgerweeshuis; Stichting Emma Plein Foundation
el proceso como paradigma 400s, 2010
Stearin, iron, wood, various electronics. Supported by: The Danish Arts Council Committee for Visual Arts. Courtesy: Galleri Tom Christoffersen, Copenhague
el proceso como paradigma The Conversation, 2009
99 solonoides, custom electronics (microcontrollers/drivers), strings, rubberbands, wires. Production support: LABoral Centro de Arte y Creación Industrial, Gijón
el proceso como paradigma Still Living (a, b, e, f, g, h, i, j), 2006
Series of infinite visual installations. Computer, specific algorithm Courtesy: the artist
el proceso como paradigma Warden Sprites Raum3, 2009-2010
Series of photos, an elf-receiver, 1 Mac mini with net-access, 1 ISOPHONE PLS 320 / 400, 1 radial high tone beamer with control unit developed by N-solab, 1 UV 350nm Spot with control unit developed by N-solab, fluorescent molecules. Courtesy: Jan-Peter E.R. Sonntag & N-solab
el proceso como paradigma Roots, 2005-2006
Glasstank, water, ironsulfate, copperwires, platinum, computer, sound system
el proceso como paradigma Sandbox, 2009
Wood, lacquer, metal, fans, sand, electronics, 245 x 122 x 176 cm Supported by: Mondriaan Foundation, Ámsterdam Acknowledgements: The Netherlands Foundation for Visual Arts, Architecture and Design, Ámsterdam Courtesy: VOUS ETES ICI, Ámsterdam
el proceso como paradigma Greenhouse Converter, 2008
Cybernetic-model, consisting of waterfleas (daphnia magna), algues (Hydrodictyonreticulatum, volvoxglobator), LEDs with changing colours; pump, monitor, camera, waterfountain
el proceso como paradigma Symbiosis, 2009
Posterbox. Supported by: Mondriaan Foundation, Ámsterdam
el proceso como paradigma Decon, 2007-2008
Perspex boxes, agar, textile dyes, bacteria. Developed in collaboration with Dr Ligia Martins leader of the MET group at ITQB in Oeiras, Lisbon; with the help of Bruno Mateus and the support of SOPHIED, Direcçao Geral das Artes/Ministry of Culture Portugal
el proceso como paradigma Growth Pattern, 2010
A light box array of Petri dishes containing agar, nutrients, hormones, die-cut leaves Production: LABoral Centro de Arte y Creación Industrial, Gijón. Acknowledgements: Universidad de Washington, Seattle; Escuela Srishti de Arte, Diseño y Tecnología, Bangalore; Centro Nacional de Ciencias Biológicas, India; Área de Fisiología Vegetal del Departamento B.O.S. de la Universidad de Oviedo; Invernaderos Balbín SL, Luanco. Creation of this work was made possible in part by Artist Trust Grants for Artist Projects (GAP)
el proceso como paradigma E-volved Cultures XXWide, 2008
Variable screen. Software for Mac OS X, installation with 2 projectors Supported by: Mondriaan Foundation, Ámsterdam Acknowledgements: The Netherlands Foundation for Visual Arts, Architecture and Design, Ámsterdam Courtesy: VOUS ETES ICI, Ámsterdam
el proceso como paradigma Process 18, 2008
Text, unique custom software, documentation prints and CDs, computer, projector, wood panels; unique milled fiber composite; pair of unique C-Prints. Courtesy: bitforms gallery, Nueva York
el proceso como paradigma Span 3, 2008-2009
Digital LightJet print, 73.7 x 304.8 cm Acknowledgements: Jeroen Doorenweerd & Rijksgebouwendienst, Douanekantoor Maasvlakte
el proceso como paradigma Leak to lower lazy levitating load, 2008
Custom electronics, modified montreal-saskatoon miller solar engines, super capacitors, custom solar panels, sunlight, wire, cinder blocks, 55 gallon drum, shock cord, hardware, miniature pumps, plastic tubing and connectors, modified 18L water bottles, rope, ratchet tie-downs, water Acknowledgements: Conseil des arts et des lettres du Québec
Photo: Paul Litherland
el proceso como paradigma Circulation, 2010
MP4 Full HD y Flash (RSS Yahoo) The man: Vincent Charlebois The woman: Mélissa Gagné Production: Agence Topo para Geoweb
el proceso como paradigma Real Snail Mail 2008-ongoing
Snails, RFID readers and tags, Internet, snail enclosure Supported by: Artsway Artist Associate programme and the Computer Animation Research Centre, Bournemouth University Courtesy: [DAM] Berlin
el proceso como paradigma Conversation Map, 2000
Website built with the Java and Perl programming languages Courtes y: The San Francisco Museum of Modern Art; Beall Center for Art and Technology at the University of California; National Science Foundation, Digital Society and Technologies Program, Directorate for Computer and Information Science and Engineering, Santa Cruz Arts Research Institute; University of California, Santa Cruz Committee on Research; The News in the Future Consortium at the MIT Media Laboratory; Interval Research Corporation through an Interval Research Fellowship
el proceso como paradigma Love, piracy, and the office of religious weblog expansion, 2009
Mixed media (performance, installation, online project, artists’ book) Text based on an interview with Ali Alizadeh by Mukul Patel, February 2008 Website coding: Elke Michlmayr Supported by: Arts Council England; BMUKK Austria
el proceso como paradigma Red Fungus, 2010
Generative installation, stickers on the floor Supported by: Mondriaan Foundation, Ámsterdam
Photo: Marcos Morilla
el proceso como paradigma
22
Apr
2010
29
Aug
2010
art in exchange, flux and development

el proceso como paradigma

art in exchange, flux and development

23
Apr
2010
30
Aug
2010

Concept

Before the background of unforeseen global processes, credit crash and climate change, the exhibition el proceso como paradigma researches the nature of processes and self organising, processual systems on a cultural level and in the arts. el proceso como paradigma puts forward the idea that today processes have become one of the major paradigms and creative strategies in contemporary art and design across the disciplines. The show reveals the elementary shift from a culture based on the concept of manifestation and the final product to a culture of process resulting from a networked society. Consequently, the show introduces a new understanding of process-based art which goes beyond previous definitions. el proceso como paradigma suggests that the new process-based art is the art of the 21st century.

On the occasion of the exhibition LABoral will hold the workshop Interactivos? el proceso como paradigma:

Interactivos? process as paradigm is a workshop in which artists, experts and collaborators worked on the development and production of seven of the projects that were later part of the process as paradigm exhibition. For two weeks, Plataforma 0_LABoral Centro de Producción hosted several multidisciplinary working groups that produced and researched the various proposals under the conceptual and technical guidance of the exhibition curators, teachers and technical assistants. The workshop was directed by Antoni Abad and by the artists Allison Kudla and Roman Kirschner, also part of the show.

Interactivos? came about from an open international call that attracted 85 entries from all over the world. In consonance with the specifications of the call, all the projects respond to any of the types of processes presented in the exhibition: automated / networked processes; natural / biological processes; social processes.

For more information please click here

Curated by: Susanne Jaschko & Lucas Evers

Spatial design: kawamura-ganjavian

Graphic design: The Studio of Fernando Gutiérrez

Artists: Jelte van Abbema, Ralf Baecker, boredomresearch, Gregory Chatonsky, Adrián Cuervo, Ursula Damm, Driessens & Verstappen, Peter Flemming, Isabelle Jenniches, Roman Kirschner, Allison Kudla, Manu Luksch & Mukul Patel, Aymeric Mansoux & Marloes de Valk, Luna Maurer, Marta de Menezes, Henrik Menné, Leo Peschta, Julius Popp, C.E.B. Reas, RYBN, Warren Sack, Antoine Schmitt, Ralf Schreiber, Jan-Peter E.R. Sonntag

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In collaboration with:

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Spatial Desing

The exhibition el proceso como paradigma, curated by Susanne Jaschko and Lucas Evers, portrays art in development, flux and change. The intention of the bespoke exhibition design has been to help visitors interpret and understand such a complex theme as process-based art while avoiding a didactic presentation.


The heterogeneous 25 artworks have been placed.in a way that they form loose groups. Decisive factors for the individual placement were for example the formal and conceptual vicinity of an artwork to others, but also the achievement of visual diversion and contrast. These unconstrained groups were subsequently allocated to several spatial conglomerates that we call “clusters”. These clusters articulate the whole exhibition and follow a geometrical pattern inspired by cellular structures. They offer a supportive backdrop (hanging wall, illumination, projection surface, plinths) to the artworks in a versatile and flexible way, catering to the specific requirements of each piece. The clusters also help in breaking down the large scale of the exhibition hall in such a way that the artworks (some of them of small size) do not feel dwarfed by the space that hosts them.


The flow of visitors is free and uncontrived, moving away from the conventional and inflexible corridor ─ and ─ gallery exhibition model. The interstitial space between the clusters subtly suggests a main thoroughfare from which all exhibition areas can be accessed. This central area is treated slightly differently, with backlit honeycomb panels that echo the cellular geometry of the clusters. The carefully considered exact location and display of the artworks adds a theatrical value to the visitors’ experience. The resulting space is a cloud-like atmosphere where the visitors move freely amongst the porous clusters that house the exhibits.

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Kawamura-Ganjavian

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