55th VENICE
BIENNALE OF ART
1st June Ð 24th November
2013
An exhibition proposed by
Curator Marisa Vescovo
In collaboration with
Art critics: Alessandro Carrer,
Bruno Barsanti and Boris Brollo
Official program
of the 55th Venice Biennale of Art
Organized by:
Location:
Magazzino di
Campo San Cassiano
Information
website:
http://www.dearteassociazione.org/www.dearteassociazione.org/NOISE.html
vOluptuary drOid dŽcOlletage (2002) 66x120 inches
vOluptuary drOid dŽcOlletage (2002) 66x120 inches
Viral Venture (2009) projected on the raw wall
Viral Venture (2009) projected on the raw wall
Viral Venture (2009) projected on the raw wall
Viral Venture is a digital art
projection (and/or ongoing installation) by the artist Joseph Nechvatal with a
musical score by the composer Rhys Chatham.
The Viral Venture projection consists
of the artificial-life computer virus attacking my digital images of a retina
and anus. It acts in real time as modeled on the biological viral mode as
programmed by Stephane Sikora in C++.
See: http://youtu.be/L3dlXV3K2C4
NOISE has been
selected out of only 35 of 400 art projects submitted to the 2013 Biennale
Selection Committee.
Exhibition concept
NOISE deals with
visual noise in the contemporary field. It outlines a new aesthetics of noise,
excess and immersion.
NOISE is based on
a 2011 book titled Immersion Into Noise by the
artist / theorist Joseph Nechvatal. According to him, the new digital
technologies convey an excessive amount of informational data that leads to the
progressive merging of the traditional concepts of figure and ground. This
merging generates new forms of immersive noise and brings along with it new
viewing expectations and experiences.
The dozen artists selected for NOISE
engage mainly with digital media and adopt a modus operandi based
on immersion into noise by placing process in a privileged position with
regards to representation. They frequently utalize techniques that might have
previously been termed as leading to error. They,
however, perform a mode of dŽtournement by using
error to create
unexpected
aesthetic critical pleasures.
NOISE
curatorial statement
This project takes as its starting
point a book published in 2011 by the artist Joseph Nechvatal, Immersion
Into Noise. In the text, the artist outlines an aesthetics of noise as an
experience of excess that contains in it a politically oriented strategy to be
explored as a means of addressing the state of
semantic impoverishment in which art
today resides due to the value accorded to spectacle and decoration by a
globally mediated late-capitalist society. For Nechvatal, the art of noise
represents an element of resistance capable of offering new relational
modes whilst drawing us directly and authentically towards Òour inner world,
to the life of our imagination with its intense drives, suspicions, fears, and
loves (...).Ó The operative potential of noise art Ð which
traces its theoreticalfoundations through Nietzsche by way of Deleuze and
GuattariÕs rhizome, RussoloÕs noise music,JarryÕs Pataphysics, the
writings of Bataille and Debord, Fluxus, Jimi Hendrix and neuroscience
Ð offers us a means of overcoming the abuses of the spectacle, with its instant
legibility, that is often typical of art today. Its view is towards a return to
the essential principle of indeterminacy.
In its usual sense, noise is
understood as an element of interference and disruption in the atmosphere
and/or in communication. In acoustics, noise is a disruptive factor at odds
with the data transmitted within a system; in electronics, it refers to all the
unwanted signals which interfere with
the useful transmitted signal or the
signal to be processed, typically found on a channel (medium) of human or
electronic communication; in psychology, noise is a disruption caused by an
excess of information, such that even a potentially useful piece of information
is unrecognised or difficult to identify.
Despite the fact that words like
ÒnoisyÓ, ÒunpleasantÓ and ÒgratingÓ are often used to describe the sound of
harsh dissonance Ð i.e. the quality of sounds that seem unstable and are
characterized by a need to resolve to a stable consonance Ð in actual fact all
music with a harmonic or tonal basis incorporates some degree of dissonance. ÒNoiseÓ is
thus an integral part and must be considered in terms of immanence. It is not
simply a parasite distorting an object of communication, rendering it grating
or incomprehensible, but is in fact a constitutive element. Noise art is founded
on the principle that noise is part of the object on an ontological level; it
is its necessary condition. Its validity is based on the assumption that Òwhile
rhizomatic growth and inter-relations are unpredictable (Deleuze), this does
not mean that they proceed randomly. Noise may break some connections, but
connections will always continue to grow in other directions, creating new
thoughts and new affectsÓ.
In other words, the role
of art is to render dense with meaning that part of communication which usually
escapes codification and understanding Ð NOISE.
Alessandro Carrer, Bruno Barsanti
and Boris Brollo
Book: Immersion
Into Noise
http://openhumanitiespress.org/immersion-into-noise.html
Luigi Russolo's
1913 manifesto/letter text The Art of Noises
One hundred years after The Art of Noises by Luigi Russolo, the exhibition reflects upon noise as a necessary condition and an integral part of any communication process. The role of art is to render dense with meaning that part of communication which usually escapes codification and understanding, so to return to an essential principle of indeterminacy. By assuming a modus operandi based on listening, or immersion, the artists chosen for the exhibition place processuality in a privileged position with regard to the demands for representation, while locating in what might be termed error an essential precondition for coming to understand the complexity of existence.