Director MAAP (Multimedia Art Asia Pacific)
GPO BOX 2505
BRISBANE Q 4001 Australia
Videotage in Hong Kong (artists collective dealing in new media) have agreed to partner in this presentation making a strong balance between western and Asian position.
Case studies of the range of work being created by Artists in Asia Pacific Region. In my capacity as Festival Director for the past 3 annual MAAP festivals I have concentrated on researching and discovering Online Art works specifically focused in Australia and the Asia Pacific regions. Online art work has been grouped and developed through Europe and US with a range of well known sites and critical writing areas that addresses those developed nations. The Asia Pacific is largely an unmapped territory and activity difficult to research or recognise. There are organisations in some countries, but for an overall survey of the region with focus to Online art, there is very little that attempts to build a collection of the work that is being developed. This is the specific area that I have focused on and would like to share the wealth and sophistication of art concepts realised in the region Online.
The case studies would be a reflection that samples the curated programs made for MAAP selecting works by artists such as:
It is important to experience content to encourage response.
The first part will give evidence of Online Artworks as a pure art-form expression. These works are built as expression conforming to the understanding and experience of contemporary art. When researching on the Internet, artists from the Asia Pacific Region may penetrate the global sphere to be recognised in the euro/US networks and dissolve into the others framework.
The development of local Asian networks is still scattered and not presented generally as a specific region as is with the established networks with their rules and rights of passage. The networks may be very specifically local - I would like to propose why this is so? The language of contemporary Art in western society being separate to culture? "presence and place" - leverages off an assumption that the W W W liberates us into "true" global access - how do artists use this global position and does it really exist apart from the possibility of being technically global?
There is a desire to believe we are global when it comes to talking "www." but the reality of the physical and the practical, is not a level playing field - so how does this effect the way - enrich the way - we perceive art online.
The idea of "presence" is related to context - What is the identity/persona of the creator? Who is the work talking to? How is it perceived? Is the personalised ownership of artistic authorship once again needed to humanise new technologies? The idea of "place" is related to context - Where is the work seen? Who owns the place and identity of power? What is the sense of place in a global and local reading? How do we name the new places emerging? "Presence and Place" invites panels from around the region to relate current opinions and ideas, examples and case studies in a lively exchange!
Especially when we come to dealing with artists and creative people in the Asia pacific region. Everyone comes from somewhere and has a specific local condition from where their art statement/position comes from.
Many complex issues of the position of power - once the work emigrates to the land off www, does the creator loose their own context, can it be brought with them? The idea of Presence and Place" is a step past the popular conception of the web as a place of collapsed geographies where issues of new media space dissolving traditional geographical and hierarchical space is examined.
This session will discuss artistic practice that connects to alternate community and individual places in the virtual space of the World Wide Web. The now common idea of new media is one that destroys boundaries and melts countries - a globalisation. However the reality is that art and ideas are made "somewhere" and that the local and specific environment are still at the core of how artists perceive and express their ideas.
This second part of the session will bring Fion Ng, Director of Videotage, Hong Kong (see attached Videotage activities) to discuss the position of Online artwork in relation to their organisations experience history and projection. Fion would introduce her knowledge from the Hong Kong’s position as an artists run cooperative dealing with Online issues and Online artists. Fion Ng, with her vast knowledge of Hong Kong and international artists use of new technologies will invite local artists to join the panel in a discussion of current attitudes towards the internet.
In this session issues raised and discussion from the panel will include:
Kim Machan has worked in the area of contemporary art, nationally and internationally, for the past 18 years. Working with many hats as curator, producer, art consultant, and designer, she has directed activities towards the goal of using media and new technologies to promote and expose contemporary art and art concepts to broader audiences. These activities led her to guide the first Australia Asia Pacific online arts festival - MAAP (Multimedia Art Asia Pacific) Festival. Initiated in 1998 and developing the online content and partnerships to produce the 1999 and 2000 Festival.
MAAP is a focus for art and technology cultural projects in Australia Asia Pacific regions with goals of fostering artistic and cultural exchange. During the mid-eighties she worked in Europe on contemporary art fairs and video art broadcasts/festival for ORF Television in Vienna in conjunction with Ars Electronica, Linz. In 1996 she set up Art Rage, Artworks for Television inviting contemporary artists to create short art works for television. She produced 4 series involving over 70 artists broadcast on ABC music video program Rage with the 3rd series broadcast on ABC program Recovery in 1999. For the past fours years she has been producing art programs related to art and technology such as a documentary Rendered: Digital Art in Australia supported by the ABC and a video on contemporary art review Art Rush.
Kim Machan has been actively participating in new media art projects for the past 19 years. First from a practitioners position and later through projects commencing in 1986 as coordinators assistant for the ORF Videonalle that was part of Ars Electronica. This was a series of television broadcasts focusing on video art internationally. In this capacity researching video art, interviewing artists, assisting with programing and design.
After returning to Australia, she continued working with contemporary artists producing a series of broadcast through the ABC television programs RAGE and Recovery . This involved commissioning contemporary artists to produce "an art work for television". Over 5 years 70 artists participated in this project. 4 video compiles were produced. These videos were then screened in contemporary art spaces, galleries, schools, international video festivals and youth culture events. Machan has been producing art programs related to art and technology such as a documentary Rendered: Digital Art in Australia supported by the ABC and a video on contemporary art review Art Rush.
In 1997 she became involved with the setting up of MAAP-Multimedia Art Asia Pacific and have been Festival Director for each year since then. Machan has curated several screening programs, commissioned and curated new media projects partnering with organisations and individuals nationally and internationally.
Working with many hats as curator, producer, art consultant, and designer, she has directed activities towards the goal of using media and new technologies to promote and expose contemporary art and art concepts to broader audiences.
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