15 October – November 2020. Millepiani, Via N.Odero, Rome, Italy.
Advance booking required: firstname.lastname@example.org +39 347 496 2253
KVINNEKROPPEN: En utstilling i anledning Kvinnedagen 2020
Åpningen på kvinnedagen søndag, 8 mars 2020, med vernissage klokka 12. Velkommen!
Besøksadresse er: ARTERIET, Lumberveien 51k, 4621 Kristiansand
FEMALE BODY: An exhibition on the occasion Women’s Day 2020
Opening on Women’s Day, Sunday, 8 March 2020, with opening at 12 noon. Welcome!
Address: ARTERIET, Lumberveien 51k, 4621 Kristiansand, Norway
Additional thanks to Women Nordic Music Technology (WoNoMute) for keeping the sound on (for us) all the time and during women’s day/week. My work Stop Bath was included in the playlist of female music compositions. Stop Bath was filmed, edited, produced, with original soundtrack in Oslo, Norway, and first exhibited 2017 at Oslo Art and Fashion Festival, Aker Brygge. Link to the WoNoMute Playlist: https://bit.ly/2xpeEex #contemporaryartist #womeninart #wonomute#norway #womenintech #artscience #art #image #nature #stopbath#nordic #music #sound #women #artists #film
AWMAS 2020 CONFERENCE
INTEGRATION: APPLYING ART AND SCIENCE
LOCATION: Corwin Pavilion, University of California, Santa Barabara
CONFERENCE DATES: Wed, February 05, 2020, 9:00 AM to Fri, February 07 2020, 10:00 PM [PST]
FOR IMMEDIATE RELEASE
AWMAS 2020 – Art Gallery Exhibition
at the Corwin Pavilion, University of California, Santa Barbara
The UC Santa Barbara-based Alliance of Women in Media Arts and Sciences (AWMAS) will hold its third annual conference this week Feb. 5-7 at the Corwin Pavilion. With the goal of celebrating and promoting innovation by women in the burgeoning transdisciplinary space between science and media arts, the conference this year will focus on the theme of “Integration.”
“Integration” is based on academic research and artistic works by women through transdisciplinary and interdisciplinary connections between the technical sciences and other applied sciences that influence new media art. The main goal behind this conference is to provide a platform for the exchange of ideas and experiences emerging from the intersection of science and applied art. Emphasis is placed on the various aspects of the mutual benefits of the integration and interaction between science and media arts.
Attracting leading female engineers, artists, scientists and educators from all over the world, the conference has become a thriving hub for the exchange of ideas, philosophy, research, and art. The conference is led by AWMAS founder Lena Mathew, a doctoral student in UCSB’s Media Arts & Technology graduate program, along with a team of curators from UCSB, and other institutions.
As part of AWMAS 2020, an exhibition of audiovisual art installations will be presented in the Corwin Pavilion, with guided tours by the artists at 5 pm on the first day (Feb. 5th), and self-guided tours on the following days. This will serve as the backdrop for an exciting series of lectures, paper and poster presentations, and a workshop on programming for the creation of experimental computer music. The conference will culminate in a free multimedia concert on the evening of the final day.
Sam Bourgault and Emma Forgues, Stejara Dinulescu, Maru Garcia, Elizabeth Hambleton, Riley Henningsen, Nana, Klith Hougaard, Xindy Kang, Christina McPhee, Rodney & Elizabeth, Sophie Nebeker, Lauren Ruiz, Sahar Sajadieh, Tiffany Trenda, Rachel Wolfe, Yin Yu, Weidi Zhang
Sam Bourgault, Rodney DuPlessis, Kio Griffith, Elizabeth Hambleton, Gustavo Rincon, Sahar Sajadieh
Special Thanks: Media Arts and Technology Program (MAT), Music Department, The Center for Research in Electronic Art Technology (CREATE), transLab, & Experimental Visualization Lab
AFJORDANCE, 2019, single channel video, soundtrack composed by the digital armature joint movements referencing an open source audio library of wind. The video looks at the new complexities emerging in Artificial Intelligence, the ways humans create mirrored structures, and affordances in the notions of Intelligence itself. Exhibited in California, Norway, and Italy.
February 2020, Corwin Pavilion, University of California Santa Barbara for AWMAS Conference.
October-November 2020, LoosenArt at Millepiani, Rome, Italy.
June 2021, New York Tri-State Film Festival.
Performance & Edit, Rachel Wolfe www.rachelwolfe.com
Affordance Technologist, Harald de Bondt www.movingmaking.com
Videography, Børge Indergaard www.indergaard.net
AFJORDANCE, 2019, Approximate run time 13:50 minutes, single channel video (with audio).
Affordance is what the environment offers the individual, and refers to all action possibilities depending on users’ physical capabilities. For example, a chair “affords” being “sat on,” “thrown,” “stood on,” and a continuing use of probabilities. James J. Gibson, coined the term “affordance.” The video portrays a dance at the fjord as movement research for technology lab-work.The project developed from the Solfège Souche video performance. The relationship between the human body and the natural world remains full of misunderstandings and spaces for insight. As Artificial Intelligence becomes part of human life, and human relations are increasingly dependent on technological screens and interfaces, the question of what is knowing and the way Intelligence is understood comes into question in the video. The wind sound in Afjordance are from open source libraries. The composition is made by refercing the joints in the wire frame armature. This armature positioned antagonistically opposed to the fully covered body. The body becomes a form without much identity other than it shows the proportions of a female body. The wire frame of the body becomes the composer, making a track of wind sounds as an echo of the movements of the body. The feminine as a figure of the earth or “mother nature” in certain instances is faced with the exorcised image of itself which can scarcely mirror the motions from the limited human body. The video is intended to be projected with sound, to create an immersive experience for viewers to consider the themes of technology, the body, nature elements. The experience provides a multi-sensory meditation on the possible meanings and implications of the emergent technology.
ARTISTIC RESEARCH: DRAFT FOR JOURNAL
FEEL THE BURN | Kamikaze
28 July 2019
4654 W. Washington Blvd.
Los Angeles, CA 90016
Solfége Souche, Concept 2019 Exhibition, Czong Institute for Contemporary Art (CICA), Gyeonggi-do, Korea
June 28 – July 14, 2019
2019. 6.28 – 7.14
“Solfége Souche” (2018)
A Solfège Souche is by definition the root of a forgotten connection with nature. In our time of rapid advancement in technology, we stand on a Vantasner Meridian. Is it dangerous if we do not know what we stand to lose? The video works with movements, light, body, sounds reminiscent of a basic fiber of existence: humans are part of nature. In an effort to portray a relationship with nature, instead of a dominance over nature.
Rachel Wolfe was born in Illinois, and trained in dance, piano, and voice. Her meditative works are informed by observation and inquiry into beauty and sensual feeling. A world experienced through synesthesia informs her inquiry into the Vision and Body relationship through themes of water, terrain, sound, and ways of embodied knowing. Value, depth, texture, colour as related to our feeling of intelligence. At times the work appears otherworldly, saturated, sublime, nearly unreal-but the images and installations made are always about aspects deeply tied to reality. Wolfe holds a Master of Fine Art from Otis College of Art and Design, and a Bachelor of Art in Advertising, with studies in Interior Design. Awards and artist residences include Trélex Residency (Switzerland), PRAXIS Oslo ad Praxis festivalen Tricia Brown (Norway), First Place by the Jury, Imagining New Eurasia Exhibition (South Korea), Woelffer Scholarship and Academic Merit Award, Otis College of Art and
Design (USA), Academic Scholarship for Social Psychology (Japan), Historic Pathways, Indiana State University (USA). The Print Ateliér of Montréal, represents images from Human Needs.
Damocles was made from two stones from the Vaud region of Switzerland, the foothills of Jura mountain range, and tied together with alpaca and wool, with strings wound to either side to suspend in the air. Kate Orme installed the artwork next to Nina Rodin’s work for the exhibition Elemental Me.
11 and 12 May 2019 at Trance&, Bernt Ankers Gate 31, 0183 Oslo, Norway. Catalogue below photos.