Digital meets Culture

Understading, Capturing and Fostering the Societal Value of Culture

UNCHARTED: a new EU project responding to the H2020 “Transformations” call.

The 7th February will take place in Paris the first meeting to kick off all activities of the new EU project UNCHARTED.
This is a four years project Coordinated by the University of Barcelona, focused on the valuation practices of the actors involved in cultural life.
It aims to define the social values associated with culture, their configuration and the political impulse that these values could deliver to the society.

These values will be studied in four fundamental arenas of cultural practice:

cultural participation in live arts and culture;
cultural participation through media;
cultural production and heritage management;
cultural administration.

The main objectives of the project are:
1. to provide a broader vision of the value of culture in Europe
2. to identify and contextualize the emergence and configuration of cultural values in Europe
3. to co-create new conceptual and methodological tools to understand, evaluate, measure and improve statistical data for capturing the plurality of values of culture
4. to give tools and systematic guidelines for the reorientation of cultural policy in a pluralistic sense.

The UNCHARTED Project is multidisciplinary to address a wide range of aspects and perspectives of the plural value of culture in different contexts and sectors.

Its consortium comprises 10 partners, 9 of them are academic and one is a SME successfully active for many years in the sector:
1. Universitat de Barcelona (Coordination)
2. Eötvös Loránd University of Budapest
3. University of Coimbra
4. University of Bologna
5. Telemark Research Institute
6. CNRS
7. University of Porto
8. Goldsmiths, University of London
9. University Paris 8
10. Promoter srl

The activity is organized into eight work packages:

WP 1: Understanding the societal value of culture
WP 2: Identifying the emergence of values of culture
WP 3: Measuring and imagining
WP 4: Analyzing political intervention and impact
WP 5: Experimental demonstrations.
WP6: Communication and Dissemination
WP 7: Project Management
WP 8: Ethics requirements

Further information: https://uncharted-culture.eu/

Next stop: Malmö Museum, in Malmö, Sweden from February 15 to June 7, 2020

Anthropocene, a multimedia exhibition that investigates the impact of human footprint on the Earth

Text by Caterina Sbrana.

Bologna, January 4.

Welcome to MAST Foundation (Arts, Experience and Technology), an international cultural and philanthropic institution that focuses on art, technology and innovation.

Welcome to Anthropocene, a multimedia exploration of the human footprint on Earth. For the first time in Europe an exhibition investigating the impact of man on our planet. 7 months of extension brought thousands of visitors to MAST. Anthropocene is an artistic, technological and human experience.

The photo at the entrance of the exhibition shows the work in the marble quarries of Carrara (ph. F. Sbrana)

The exhibition, whose next stop will be at the Malmö Museum, in Malmö, Sweden from February 15 to June 7, 2020, uses various expressive mediums: photographs, large-scale high-resolution murals, combining state-of-the-art photography and film techniques, film installations, augmented reality installations that recreate realistic-looking, near-to-scale 3D photorealistic models, on smartphones and tablets.

My first impression was to feel good. I felt like I was in a comfort zone and reason cannot be constituted by the dramatic photographs displayed, but by finding me among people with the same desire to know what Anthropocene Era represents. Each of those present was aware of the disasters that man is creating with his own hands, through urbanization, industrialization, mining, oceans acidification, climate change. The second impression has been an assessment on the involvement that interactive exhibitions have on visitors.

Symbol of the app AVARA

I felt, in the silence, in the words pronounced in a whisper, a concentration of emotions that the images, realized also through a sophisticated technology, determined on the visitors. I first downloaded for free on the Google Play the app AVARA on my smartphone and I began visiting the four sections of the exhibition.

Thanks to the app AVARA you can activate the film showing the felling of dangerous trees, in Cathedral Grove forest, in Canada (ph. F. Sbrana)

Edward Burtynsky is the author of the 39 photographs in exposition; Jennifer Baichwal and Nicholas de Pencier of the films and immersive augmented reality installations.

In the photographs Burtynsky’s lens captures breakwater barriers, natural resource extraction processes and oil bunkering in the Niger Delta, deforestation, large transport infrastructures, climate change, lithium, copper and coal mines and many different forms of pollution.

Dandora Landfill #3 Plastics Recycling Nairobi Kenya 2016 (photo © Edward Burtynsky, courtesy Admira Photography, Milan / Nicholas Metivier Gallery, Toronto)

The films prepared by Jennifer Baichwal and Nicholas de Pencier show the Gottard Base Tunnel in Switzerland, mega train transport of coal in Wyoming, USA; felling and explosion of dangerous trees in Cathedral Grove forest on Vancouver Island, Canada; the scale of industry in the mining town of Norilsk, Russia etc..

Nicholas de Pencier and Jennifer Baichwal Vancuver Island British Columbia (Photograph: TJ Watt,
courtesy of Anthropocene Films
Inc. © 2018)

Three HD film installations provide a detailed illustration of a phosphate mine in Florida, a Texas oil refinery and the Great Barrier Reef in Australia which has been subjected to severe coral bleaching. A high-resolution mural strikes me: the extraction process in the marble quarries of Carrara. My maternal grandfather was a “cavatore” (person working in marble quarries). I have seen marble quarries since I was little. Today part of the mountain is no longer there.

Another heartbreaking image is represented by the historic bonfire ordered by President Kenyatta, in Kenya, to burn the stacks of ivory tusks confiscated from poachers in 2016. 105 tonnes of ivory burned to stop illegal trafficking and killing elephants and rhinos. The video of the numerous piles of elephant tusks going up in smoke is something that cannot be forgotten.

Completing the exhibition is the documentary film Anthropocene: The Human Epoch, co-directed by the three artists and narrated by Academy Award-winning actress Alicia Vikander. I can only say that it was an unforgettable experience.

The project debuted in Canada, in September 2018 with the film Anthropocene: The Human Epoch. On September 28, 2018, the Art Gallery of Ontario (AGO) in Toronto and the National Gallery of Canada (NGC) in Ottawa presented simultaneous, complementary exhibitions of Anthropocene, in conjunction with Fondazione MAST, in Bologna, where the exhibition has been presented in the spring of 2019 for its European premiere.

Phosphor Tailings Pond #4 Near Lakeland Florida USA 2012 (photo © Edward Burtynsky, courtesy Admira Photography, Milan / Nicholas Metivier Gallery, Toronto)

As I wrote above, the exhibition, which explores the effects of human activity on the planet, forms part of the artistic project of the Fondazione MAST, which, since 2013, has been investigating and reflecting upon the relationship between humankind and work through photo exhibition.

We thank the Fondazione MAST, in Bologna, for all information and photographic materials made available to us.

MAST: Via Speranza 42, Bologna, Italy

www.mast.org/about-us

www.anthropocene.mast.org

https://malmo.se/Uppleva-och-gora/Besoksmal/Malmo-Museer/Utstallningar/Kommande-utstallningar.html

More than two hundreds films document the life in the divided city from 1961 to 1989

The Berlin Wall, a multimedia history

Text by Caterina Sbrana.

A few days after the celebrations of the Berlin Wall fall, in the wake of a renewed interest in the events that characterized Europe and the World after the Second World War, I suggest above all to the youngest, who have to rely on the pages of the history books, the consultation of the portal “The Berlin Wall – A multimedia history”.

As I have had the opportunity to write on other occasions, the internet allows access to a large number of documents that represent important testimonies of social life. In this case, the portal www.the-berlin-wall.com has facilitated the collection and use of scattered documents contained in the archives of radio (Radio Free Berlin) and GDR television. A timeline, that marks events year by year, gives anyone the chance to slide, following a single and unitary thread, 30 years of history that has not only concerned Germany, but the whole world.

The portal was created by Rundfunk Berlin-Brandeburg (rbb), the public service broadcaster for the states of Berlin and Brandenburg and part of the consortium of public broadcasters in Germany (ARD) which I myself had the opportunity to experience on my trip to Berlin last January.

The timeline, which from 1990 descends vertically to 1961, tells the life of the divided Berlin but also the tensions between East and West caused by Cold War in the 1960s.; Berliners from East and West talk about their personal experiences of living with the Wall: how they fled from East to West, how they were separated from their families, how they went about their day-to-day lives in the shadow of the Wall.

Contrary to what happens in West Berlin where the tram gives way to cars, in East Berlin the tram network is expanded. Hundreds of people are waiting for it.

The photographs in the article are all taken from the videos preserved in the archives of Radio Free Berlin (SFB)/rbb, the German Broadcasting Archive (DRA) and GDR television.

As the creators of the site write “two hundred and fifty films document life in the divided city from 1961 to 1989. Such a historical panorama would, of course, not be complete without taking a look at the fall of the Wall on November 9, 1989 and German reunification in 1990.”; they “interview escape helpers and follow the development of border fortifications as they grew higher and more impenetrable year by year”.

August 13, 1961- A last-minute escape

The first one shows Berlin in 1961, before the construction of the wall and the attempt to escape many people. “When radio mechanic Manfred Roseneit heard the Wall was going up on 13 August 1961 he set off on his motorbike and headed to the border to see if there was still a chance of getting across. Once he had found a spot to escape, he made a quick dash home to pick up his most important documents…”

At the end of October, American and Soviet tanks stand face-to-face at the US Checkpoint Charlie on Berlin Friedrichstrasse.

Map that represents the East-West border ran through the middle of Lake Glienicke.

Another video shows the facts happened at the end of October 1961 when American and Soviet tanks stand face-to-face at the US Checkpoint Charlie on Berlin Friedrichstrasse and the GDR authorities are trying to restrict the allies’ freedom of movement. The East-West border ran through the middle of Lake Glienicke. From 1961 the border was fortified, meaning that bathing was only allowed on the Western side. This film explores how the residents of Groß Glienicke dealt with the situation and tried to make contact with villagers on the other side.

It is interesting to discover how Luis Armstrong invited to East Berlin for a jazz concert gave in an interview the statement of not being interested in the wall but in the audience for his concert. Not only Armstrong brings music to East Berlin: in May 1978 it is the turn of the Queen and their spectacular concert in the Deutschlandhalle arena.

A moment of the spectacular concert in the Deutschlandhalle arena, shows the young Freddie Mercury

We can find clips showing the arrival of the tram, the opening of the hotel Metropol, the visit of Queen Elizabeth II, that of Ronald Regan and first lady in 1982, interviews and speeches from well-known dissidents, the conviction of authors accused of “defaming the GDR, the SED, its cultural policy and its legal system”, and of having “put themselves at the service of anti-communist forces working against the GDR”.

More and more frequent demonstrations for peace

Meantime, in 1983 many people on both sides of the city are campaigning for peace and disarmament. Women’s groups from East and West join forces and name themselves Women for Peace. Eva Quistorp, founder of Women for Peace in the West, talks about making contact with women on the other side of the Wall. It wasn’t an easy task because the Stasi pursued and spied on the women in the East. A lot of women from the peace movement in the East later became part of the autumn events that lead up to the fall of the Wall.

November, 9: International press conference at International Press Centre of Berlino East

When in 1988 Pink Floyd were playing outside the Reichstag building in West Berlin, on the other side of the Wall hundreds of fans gather in the hope of hearing some of the concert. But things take a turn for the worse and the East Berlin authorities make a number of arrests.

And here we are on 9 November 1989: during an international press conference Günter Schabowski, a member of the politburo, announces that the GDR will be opening its borders. An Italian journalist, Riccardo Ehrman, asks about changes to the laws governing the right to travel. Schabowski answers: “We have therefore decided today to put in place a regulation that allows every citizen of the German Democratic Republic to leave through any of its border crossings.” Ehrman: “When does it come into effect?”
Schabowski: “That comes into effect, according to my information… immediately, without delay.”
Schabowski continues: “Permanent exit can take place via all border crossing points between the GDR and FRG or West Berlin.”

The wall is dead.

www.the-berlin-wall.com

www.the-berlin-wall.com/about/

www.the-berlin-wall.com/videos/berlin-contemporary-witnesses-last-minute-escape-806/

www.the-berlin-wall.com/videos/louis-armstrong-in-east-berlin-739/

www.the-berlin-wall.com/videos/elizabeth-ii-and-queen-visit-berlin-655/

www.the-berlin-wall.com/videos/the-queen-visits-west-berlin-564/

www.the-berlin-wall.com/videos/president-reagan-visits-west-berlin-680/

www.the-berlin-wall.com/videos/the-berlin-wall-opens-726/

The website is optimised for mobile devices. Visiting Berlin we can use the digital map to visit the sites featured in the archive footage and travel back in time to learn about the event at the place it happened.

Beyond obsolescence: Sustainable development. Discuss the futures of industrial heritage.

2021 TICCIH Congress in Montreal: Industrial Heritage Reloaded. New Territories, Changing Culturescapes

The Canada Research Chair in Urban Heritage of Université du Québec à Montréal, in collaboration with the Association québécoise pour le patrimoine industriel (Quebec association for industrial heritage) and with the support of Tourisme Montréal, will be hosting the 2021 TICCIH Congress in Montreal, from August 30th to September 4th, 2021.
In order to enrich scientific discussions, to promote the discovery of Montreal’s urban and cultural environment and its particular challenges in the field of heritage, and to support new partnership in research and training, the five days of the conference include numerous activities of inquiry and dialogue in various areas linked to industrial heritage, as architecture, urban planning, gastronomy, music, cinema, etc. Well-known guest speakers will also be heard.
The 2021 TICCIH congress in Montreal is designed to perpetuate and renew research and exchanges on less-discussed areas of industrial heritage, by addressing the identity of industrial civilization from the angle of its representations, culture, territories, of its inheritance (positive or negative) and of their documentation and development.
The deadline for the call for sessions and papers is January 31st 2020.
The Congress will enthusiastically welcome especially those proposals of research or intervention on industrial heritage that will bring to discussion the following topics:

Functional or symbolic requalification
Belonging and social acceptability
Social engagement with the scientific discourse
Memory and people’s participation
Sustainable development
Uses and aims of heritage
Environmental challenges of industrial heritage

Save the dates!
Congress : 29 August to 4th September 2021
Deadline of call for sessions : January 31st 2020
Deadline of call for papers : August 31st 2020
Deadline to submit full paper : April 30th 2021

Read more about the XVIII TICCIH Congress HERE

Diverse challenges, humane solutions

HERItage International Conference: March 11-13, 2020 Opatija (Rijeka), Croatia

The University of Rijeka, one of the largest and the most cosmopolitan city in the country, concurrently the 2020 European Capital of Culture, is pleased to welcome you to this three-day HERItage conference organized under the auspices of the Ministry of Science and Education of the Republic of Croatia and the European Commission as part of the Croatian Presidency of the Council of the European Union.
The three-day HERItage conference will focus on research and innovation in the field of the social sciences and the humanities, with particular dedication to the domain of cultural heritage, including the role of digitalization and the importance of education.
Mission of the conference: to explore a priority setting agenda on European research and innovation (R&I) related to cultural heritage, which will contribute to regional innovation ecosystems that rely on education, scientific and technological research, and culture.
Main objective: to promote a debate with policymakers and stakeholders on the impact of cultural heritage in socio-economic development, the preservation of democratic values, sustainability and future jobs.
The conference will gather participants from all around Europe from academia, governmental organizations, industry, SMEs and users of research results. Also, policymakers, local authorities.
The aim is to present research results and develop substantial discussions on the topics of Cultural Heritage and the future of research and development in SSH in a rapidly changing world characterised by digitization, mobility, brain circulation, inequalities and technological advancement, and their repercussions.
The conference will support and promote the thorough development of Open Science in European research area.
The preliminary conference programme includes a large number of internationally recognized panellists and speakers, a broad range of plenary thematic panels, of focused topic sessions as well as poster and video presentations.
More information about the conference here
Download the letter of invitation

The masterpieces of the famous Flemish painter collected in an extraordinary example of digital Art.

Closer to Van Eyck: when high digital technology meets heritage

The past 14th January, KIK-IRPA, the Royal Institute for Cultural Heritage, presented “Further works by Jan Van Eyck”, the new version of “Closer to Van Eyck”, the online portal entirely dedicated to the prestigious painter of the 15th century.
The new version contains 200 new images of 10 additional works including the famous Arnolfini portrait and the Turin-Milan Hours. In addition, the high resolution image viewer is improved with new functions and better touch screen support.
The gallery is now available in open access for consultation, study, analysis and research and the images can be re used for educational and academic studies.
The masterpieces have been submitted to cutting-edge digitization techniques, thus collected in a single documentation of ultra-high-resolution scientific imagery available in open access.
All this was made possible by the implementation of the VERONA (Van Eyck Research in OpeN Access) project, lunched by the The Centre for the Study of the Flemish Primitives at KIK-IRPA in order to study the creative process of Jan van Eyck (c. 1390-1441) and the different hands involved in the paintings of his workshop by using the same scientific imaging techniques.
Main goal of the VERONA project are:
• to accomplish and stimulate new research on the painter Jan van Eyck
• to examine and document all the works with the same scientific imaging techniques: macrophotography (normal light, raking light, infrared and ultraviolet fluorescence), infrared reflectography and in some cases radiography.
• to add all this documentation to the website ‘Closer to Van Eyck’.
The documentation methods were enriched through a partnership with the University of Antwerp, whose researchers carried out innovative XRF scanning on works of art by Van Eyck in Belgian collections.
The digital portal will be a reference for comparative research on the work of Van Eyck. Researchers will be able to study for the first time the differences and similarities in the artist’s technique on the basis of the same comparative material.

VERONA incorporates the core mission of the KIK-IRPA: the inventory, scientific research, conservation and promotion of the artistic and cultural heritage of Belgium and in 2019 the project won the European Heritage Award / Europa Nostra Award in the category Research.

The Jan van Eyck digital gallery is an example of the extraordinary results that can be reached by the use of state-of-the-art equipment for the preservation and maintenance of the European cultural heritage but it is also a successful outcome of an active and dynamic collaboration between the museums of all Europe, which made possible to gather all the masterpieces of the prestigious painter in a unique virtual space available in open access to everybody with an interest in investigate and study this remarkable collection.

Visit the Van Eyck digital gallery

Save the dates! February 6-7, Brussels; February 20-21 Berlin

Sparkling February for Photoconsortium! We are all invited to join the final appointments of We Are#EuropeForCulture and Kaleidoscope projects!

Photoconsortium, REACH project Associate Partner, in the framework of its activity for the promotion of citizen engagement in culture and preservation of societal memory, is happy to share with the REACH community these glowing events which represent the final milestones of two main projects carried on by the consortium:
–PAST | PRESENT, participatory exhibition that will be hold in Brussels and will conclude the series of pop-up exhibition realized in the framework of the WeAre#EuropeForCulture project
–“New strategies for user engagement and digital heritage”, the final conference of the Fifties in Europe Kaleidoscope project, organized by SPK – Stiftung Preußischer Kulturbesitz, REACH Partner.
Both event are excellent opportunity for learn about the value of digital cultural heritage for citizens, the history of the fifties and in the same time, to celebrate the richness of the European cultural heritage, its diversity and to empower citizens in a more participative approach to cultural heritage.
Read more about PAST | PRESENT final exhibition at: https://www.photoconsortium.net/europeforculture/final-event/
Read more about kaleidoscope final conference at: https://www.digitalmeetsculture.net/article/fifties-in-europe-kaleidoscope-final-conference/

A new cultural tourism

sargetia: 3D Reconstruction and augmented reality applied to history and archeology

sargetia.ro offers the possibility to visit and learn about Romanian cultural sites and historical monuments by the use of 3D technology and Virtual Reality.
The platform is part of a wide promotional campaign set up by virtual museums aiming to lunch a new type of cultural tourism characterized by the use of tablets and smartphones in place of manuals, guides and brochures.
Through the use of WebGL technology which is platform independent, Sargetia offers a 3D restoration of the Dacian fortresses, belonging to the UNESCO heritage : Băniţa, Blidaru, Căpâlna, Feţele Albe, Piatra Roşie and Sarmizegetusa Regia.
It also offers the possibility to discover the most famous statues of ancient Greece which are shown in the greatest world’s museums by a virtual visit to the “Statue Island”.
The “3D Reconstruction” process of scientific recovery is able to restore each building in its own scale representation in accordance with archaeologists’ plans.
A database from the Dacian and Roman Civilization Museum (MCDR) Deva was used to implement the program and the photos that appear are arbitrarily taken from the museum site.
Because the use of Android tablet and phone is widespread and affordable, sargetia chose to adapt the programme to this technology, even in front of a lower quality than the one granted by Microsoft technology.
The visitor is able to virtually move into areas built by man or nature and destroyed over time. In the same while he is taught about their past and history: indeed, for each important point, the system instantly delivers complete information, additional video and audio, helping to understand the exposed material and the selected environments.
He can directs the guide with a joystick and a “Quit” button and visit any place without prearranged routes; he can also enter into buildings or temples because they are all built in 3D and are not replaced by movies like it happens for games.
The use of the augmented reality applied to history and archeology is an effective way for increasing knowledge of the history and discover an ancient world that cannot be described by words. Visitors get in confidence with the environment and architecture of ancient times and they are no longer a mere viewer but actively participates in the action.
Visit sargetia.ro webpage

A winter school, a hub for students and early career artists working in the field of digital sound and image

Re/SpaceS: Regenerating Spaces through Sound

The call for applications to take part in the winter school “Re/SpaceS: Regenerating Spaces through Sound” is still open. The event is open to graduate students, artists, musicians, and videomaker. The opportunity to be selected for one of our reduced fee for the 10 best applications is also still open.

The new deadline is 20 January 2019.

The Re/Spaces winter school will be a hub for students and early career artists working in the field of digital sound and image, to gather reflections and practical suggestions about the development of site-specific and location-based installation and audiovisual works. The aim of the school is to help young creative people to develop their skills in working within a small team of peers, update them on the latest tools in sound and image elaboration, provide historical and theoretical background in the disciplines of contemporary music history, audiovisual analysis, visual communication and storytelling, digital process of audio and video files.

The event will consist of two teaching weeks, from 24 March to 3 April 2020, and it will consist of theoretical lessons and workshops throughout the day. During the winter school week, meetings will be organized with an artist who will offer new insights oh the project.

The aim of the school will be the realization of a short audiovisual product and possibly a site-specific installation to be presented at the end of the winter school, focused and inspired by the buildings and spaces of the University. The idea is to subject these spaces to a sort of creative re-imagination, showing how art can be used to transfigure, re-imagine and even to suggest how the present can be transformed and looks like. Together with an artist-in-residence that will mentor the students in this process, the winter school will bring their participants to become a driver for the future developments of space, and to bring new values to an existing location by re-imagining them through the gaze of the artistic transformation.

All the information for the application can be found at: https://re-spaces.unipv.it/call-for-applicant/.

The winter school is a joint program between two Departments of the University of Pavia (Department of Musicology and Cultural Heritage and Department of Civil Engineering and Architecture – DICAr), with the collaboration of University of Turin’s CIRMA (http://www.cirma.unito.it/) and two artistic collectives: Medea Electronique (Greece – http://medeaelectronique.com/) and Kontejner (http://www.kontejner.org).

Beijing (China), 20 February - 29 March 2020

CAFAM Techne Triennial

CAFA Art Museum (CAFAM) is delighted to announce the opening of the inaugural edition of the CAFAM Techne Triennial, which takes place in Beijing from Feb 20 through March 29, 2020, and is curated by ZHANG Ga, CAFAM Consulting Curator and CAFA Distinguished Professor.

The triennial will feature more than 130 artists and collectives throughout the museum’s enormous space, the first part of the exhibition Topologies of the Real will bring together modernist icons such as John Cage and Marcel Duchamp as well as contemporaries like Hito Steyerl and Alex Da Corte.

The second part of exhibition Art in Motion: Masterpieces with and through Media, CAFAM will team up with ZKM | Center for Art and Media Karlsruhe, Germany, together these exhibitions will present a comprehensive survey of global media art from the nineteenth century to present.

Participating artists include:

Topologies of the Real

Cory Arcangel, Micol Assaël, Tauba Auerbach, Ralf Baecker, Judith Barry, Joseph Beuys, Robert Breer, Chris Burden, Jim Campbell, Peter Campus, Oron Catts & Ionat Zurr, Alex Da Corte & Jayson Musson, Bruce Conner, Douglas Davis, DENG Yuejun, Marcel Duchamp & John Cage, Anna Dumitriu & Alex May, Valie Export, FENG Mengbo/冯梦波, Thomas Feuerstein, John Gerrard, Dan Graham, Laurent Grasso, Hans Haacke, HeHe (Heiko Hansen & Helen Evans), Jenny Holzer, HU Jieming/胡介鸣, Joan Jonas, JODI: Joan Heemskerk & Dirk Paesmans, Mike Kelley, Jon Kessler, Shigeko Kubota, Lynn Hershman Leeson, George Legrady, Olia Lialina, LIN Ke/林科, LIU Xiaodong/刘小东, Eva & Franco Mattes, Lawrence Malstaf, Haroon Mirza, Tatsuo Miyajima, Carsten Nicolai, Yoko Ono, Nam June Paik, W. Bradford Paley, Philippe Parreno, Paul Pfeiffer, Fito Segrera, SHEN Xin/沈莘, Michael Snow, Wolfgang Staehle, Hito Steyerl, Stan Vanderbeek, Steina & Woody Vasulka, Addie Wagenknecht, WANG Gongxin王功新, WANG Yuyang/王郁洋, Peter Weibel, WGBH, Robert Wilson, Vivian XU, XU Wenkai/徐⽂恺, YAN Lei/颜磊, ZHANG Peili/张培⼒, ZHOU Xiaohu/周啸虎, Marina Zurkow

Art in Motion: Masterpieces with and through media

Bertolt Brecht, Vladimir Bonačić, Lucien Bull, Luis Buñuel, Mary Ellen Bute, Thaddeus Cahill, Waldemar Cordeiro, Larry Cuba, Salvador Dali, Georges Demenÿ, Marcel Duchamp, Charles Eames, Ray Eames, Harold Eugene Edgerton, Masaki Fujihata, Kiyoshi Furukawa, Ivan Ladislav Galeta, Arthur Ganson, Frank Gillette, Jean-Luc Godard, Mona Hatoum, Susan Hiller, Dieter Jung, Eduardo Kac, Yoichiro Kawaguchi , Michael Klier, Billy Klüver, Kenneth C. Knowlton, Jacques-Henri Lartigue, Lynn Hershman Leeson, David Link, Manu Luksch, Len Lye, Ernst Mach, Étienne-Jules Marey, Julie Martin, Wolfgang Münch, László Moholy-Nagy, Nam June Paik, Sergio Prego, Man Ray, Martin Reinhart, Józef Robakowski, Ulrike Rosenbach, Zbigniew Rybczyński, Ira Schneider, Nicolas Schöffer, Carlota Fay Schoolman, Buky Schwartz , Lillian Schwartz, Richard Serra, Paul Sermon, Claude Shannon, Jeffrey Shaw, Léon Theremin, Thomas Tode, Stan VanDerBeek, Peter Weibel, Virgil Widrich, Katsuhiro Yamagucchi.

Website and exhibition page: https://www.cafamuseum.org/en/exhibit/newsdetail/2535

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