FABRICA: I’VE BEEN WAITING FOR YOU
| FABRICA and COLORS go to Korea
|14 November, 2006
COLORS – 15/69
FABRICA: I’VE BEEN WAITING FOR YOU
An exhibition of Interactive and Relational Artworks
Triad New Media Gallery
Seoul, November 16 – December 17 2006
I've been waiting for you is a major exhibition of interactive art created by Fabrica, the communication research centre of the Benetton Group at the Triad Gallery, Seoul, as part of the 4th Seoul International Media Art Biennale. The exhibition will open on November 16 2006 and run until December 17 2006.
The 4th Seoul International Biennale is called 'Dual Realities'. The artistic director is Wonil Rhee, chief curator of the Seoul Museum of Art and a curator of the Shanghai Biennale.
The interactive works proposed by Fabrica for Seoul have been selected to reflect recent movements in contemporary art practice. I've been waiting for you situates new interactive art practices within the wider framework of contemporary critical discourses. The artworks presented in the exhibition encourage the viewers to become creative participants in the work and to negotiate the relationship between technology and artistic expression. These works investigate new forms of representation and challenge the viewer with the questions: 'what is art' and 'what is interactive art'?
Over the past 5 years Fabrica has built a reputation for innovation in interactive art and design. The creative focus at Fabrica is not on new technology, but on new languages of communication. In October 2006 Fabrica opened a major exhibition at the Centre Pompidou in Paris to popular and critical acclaim. Several of the interactive pieces featured at the Pompidou are included as part of 'I've been waiting for you' in Seoul. I’ve been waiting for you features recent works in interactive media developed by artists at Fabrica. These works share a preoccupation with creating connections and relationships: among the artists, between the artists and the audience, between the audience and the artwork, and among the audience themselves.
The title I’ve been waiting for you signifies an unfulfilled relationship, an unbalanced equation, a situation in need of another person. I’ve been waiting for you is a show where the artwork is unstable – where the exhibited works are only the catalyst for the creation of a sense of sociability, and in which the viewer is required to play the protagonist and complete the work. This show demands intervention from the audience and in turn offers the resulting encounter as the art itself.
Although each installation in the exhibition uses at least one computer, I’ve been waiting for you is not about technology, but rather about the things which technologies allow us to do. The show reflects the emerging aesthetics of media arts in which networks, interfaces and sensors play an increasingly important role in the creative process. However, I’ve been waiting for you is primarily informed by older debates about the nature of art, the artist and the audience, reaching back from Bourriaud’s ‘Relational Aesthetics’ through Fluxus and beyond, whilst at the same time exploring the languages and the poetics of interactivity as an artform.Established in 1994, Fabrica is a unique research institution that encourages the creative development of selected young professionals from all over the world. Funded by Benetton and housed in a striking building designed by world-renowned architect Tadao Ando outside of Treviso in Northern Italy, Fabrica’s activities ranges from graphic design to cinema, with industrial design, writing, interactive media, photography and music in between. The works produced at Fabrica are experimental projects which crosses over the art world and commercial sector blurring the boundary between art and communications.
Andy Cameron (UK), Ross Phillips (UK), Oriol Ferrer Mesià (Spain)
Ceramics by Sam Baron (France)
Afterparty presents a scene of pristine desolation – the detritus of a gallery opening party with empty bottles and glasses, peanut packs, coke cans and ashtrays, all frozen into white ceramic. Amidst these dead objects there is one sign of life – the faces of the visitors, animated and enlarged to cinematic proportions and playing in an endless loop. Afterparty invites you to add yourself – and play yourself – within the film of a party that already happened.
Mark Argo (Canada)
Local Channels uses the metaphor of broadcast channels to suggest a space where the elements of life – drama, comedy, news – take place. The viewer is invited to participate by uploading their camera phone images and videos of local people, places and things to the installation. As the installation fills up with donated personal media, the nature and portrait of the local community emerges over the period of the exhibit.
Juan Ospina (Colombia)
Flipbook! is a software application which allows people to easily create frame animation by doodling on the drawing tablet. Each frame is saved and played back making a simple animated clip of the viewer’s line drawings. All the animations are displayed as part of the installation, additionally the viewer may choose to print out the animation with instruction of how to create their own paper Flipbook! or share their prints on the wall of the gallery.
Andy Cameron (UK), Dave Towey (Australia), Oriol Ferrer Mesià (Spain)
Audio design by Federico Urdaneta (Colombia)
Remote is a visual and musical work based on real time and near real time input from global webcams. The system downloads images from webcam feeds physically located around the world and uses the resulting images to control audio sequences composed for the system. By selecting web cams in real time and changing their loop lengths, the viewer can compose sound using web cams from around the world.
An early version of Remote was first seen in public as part of Heiner Goebbel’s opera ‘Surrogate Cities’ at La Fenice, Venice, September 28 2005.
”We are the time. We are the famous” (2006)
Andy Cameron (UK), David McDougall (UK), Joel Gethin Lewis (UK), Oriol Ferrer Mesià (Spain), Hansi Raber (Austria)
In this work, the viewer is confronted with two real time images of themselves. One slows down and blurs real time as if the image is a photograph in development, the other fragments real time into a film strip of images which appear to move across the wall. The installation engages the proprioceptive sense – the sense of one’s own body in the here and now – but distorts it in opposite directions. Time is directly and simultaneously experienced by the spectator as both a flow and a series of points.
Ross Phillips (UK), Hansi Raber (Austria)
A polyrhythm of video loops of gestures, expressions and movements, recorded by visitors, creating an ever evolving visual music on a screen. Grid confronts the audience with questions of performance and participation, and invites them to respond to the movements and rhythms of others.
We Feel Fine (2005)
Jonathan Harris (USA), Sepandar Kamvar (India)
Installation by Juan Ospina (Colombia)
We Feel Fine is a software engine that harvests human feelings from a large number of weblogs. Every few minutes, the system searches the world’s newly posted blog entries for occurrences of the phrases “I feel” and “I am feeling”. The result is a database of several million human feelings, with about 20,000 new feelings added each day. The installation in this exhibit displays the images and words collected by We Feel Fine that illustrate feelings and emotions related to the process of waiting.
CURATORS & ARTISTS
Andy Cameron has been working in interactive media design for over fifteen years. He created the Hypermedia Research Centre at the University of Westminster in 1993 and went on to co-found the influential antirom design collective in 1995. He co-founded Romandson Interactive Design studio in London in 1999. In 2001 he was appointed visiting artist and subsequently creative director in interaction design at Fabrica where he is responsible for the research programs in interactive media as well as guiding Benetton’s online and interactive communication policy.
Silvia has a degree in Art & Culture Management from the Museum of Modern and Contemporary Art in Rovereto Italy. She worked for the Festival and Prix Ars Electronica in Linz, where she discovered a strong passion for international events specifically related to new media and contemporary art . At Fabrica, Silvia pursued artistic research in the field of interactive art and relational aesthetics.
Born in the U.S. in 1978, Ann was raised in Thailand and educated in Chicago and New York. She studied Computer Science and received her masters degree from the Interactive Telecommunication Program at New York University. Her works have been shown internationally in the U.S., Italy, France, Austria, Japan, and Thailand. At Fabrica, Ann is the resident blogger and researches about new media, technology and contemporary artistic practices. She also collaborates with Mark Argo, and they have recently won the Mobile Asia Competition held by the Art Center Nabi in Seoul.
Mark Argo is a Canadian-born new media artist living and working in Italy. By creating physical devices that serve as interfaces for computing, Mark has been able to explore the spaces where humans and technology connect. His work has been exhibited internationally in Asia, Europe and North America, and featured in major technology magazines such as Wired and Linux Journal. While at Fabrica, Mark has been developing ‘Commpose’, a system for the display and sharing of camera-phone images in public spaces.
Born in France in 1976, Sam Baron begins his design activity in 1997 working in several design and architecture offices in France. In 2003 and 2004 he was invited by the French Ministry of Foreign Affairs to represent French Design at the Tokyo Designers Block, winning the Prize for Best Installation with the exhibition ‘Rendez-Vous’. His projects have been exhibited in several international design events and fairs around the world. He currently lives and works between France, Portugal and Italy where he directs the Fabrica design department.
Jonathan Harris studied Computer Science at Princeton University and joined Fabrica in 2004. At Fabrica he created the award-winning projects 10×10 and Wordcount. Most recently, he was commissioned by Yahoo! to conceive and create the world’s first global time capsule, which was open for one month online, in nine languages, and which was then projected onto Mexico’s Pyramid of the Sun at Teotihuacanos for four consecutive nights. His work has won numerous awards from AIGA, Ars Electronica, The Webby Awards, and the State of Vermont, and has been featured by CNN, Reuters, BBC, The Guardian, USA Today, NPR and Wired. He currently works as Design Director of Daylife.com, a global news service based in New York City, and continues to collaborate with Fabrica.
Joel Gethin Lewis
Joel studied Mathematics and Computer Science at Imperial College in London, then went on to get his Interaction Design masters degree at the Royal College of Art. Joel was at Fabrica for a full year in 2004, and afterwards joined UnitedVisualArtists in London where he works on variety of projects including tours for U2 and Massive Attack and installations at the V&A and Tate Modern. He is currently working on his first solo show.
Dave studied New Media and Photography at the University of Westminster in London, inspired and taught by the founding members of Antirom. Dave was at Fabrica from 2001-2002 with the Interactive department where the focus of his work moved towards play and interactivity. Dave is now Lead Interactive Designer at I-D Media London, which sees him working for clients such a Renault, Ligne Roset and D&AD.
Oriol Ferrer Mesià
Born in 1979 in Barcelona, Spain, Oriol studied Computer Science and Multimedia Engineering at La Salle Bonanova University in Spain. He worked at TV3, a local TV station, and then in “Pere Moles, dissenyador”, a design studio located in Andorra. Oriol got his masters in visual design at SPD in Milan, and is currently at Fabrica creating interactive installations.
Born in 1979 in Udine, Italy, Marco is a designer with multidisciplinary talents, from interactive installation to web design, video to illustration. After completing high school studies in electronic and telecommunication sciences, and a university degree in audiovisual and multimedia arts in 2004, he was at Steinmannklinik, a high-energy creative agency in Helsinki, Finland. Upon his return from Finland Marco joined Studiocamuffo, a graphic design studio in Venice. He is currently working with the Interactive department at Fabrica collaborating with other open-minded, interdisciplinary thinkers.
Born in Santa Marta, Colombia, Juan studied Graphic Design at UJTL in Bogota and worked for Ogilvy advertising agency afterwards. Juan joined Fabrica in 2004. He won the Grand Prize from the Japan Media Arts Festival in 2005 for his work Flipbook! Currently he continues the development of Flipbook! and creates other online games and toys for Benetton.
Ross studied Time-Based Media at the UWE, Bristol before going on to complete an MA in Hypermedia at Westminster in London. During his MA he worked with designer Malcolm Garret at AMX and then went to work as a consultant in the Interactive department at Fabrica. He currently works in London as Head of Interactive for SHOWstudio, Nick Knight’s fashion and art broadcasting initiative.
Hansi was born in Kelzendorf, Austria. He studied electrical engineering and technical mathematics. His interest on computers started shortly after primary school, and he became a self-educated programmer, freelancing for a few companies. Hansi joined Fabrica in 2005 where he indulges in his experimental computer passions.
Born in 1979 in Sydney, Australia, Dave studied Design at the University of New South Wales, College of Fine Arts where he received an honours degree and the University medal for Design in 2001. In 2001 Dave co-founded a creative studio Oxidise in Sydney. Dave was at Fabrica’s Interactive Department from 2004 until September 2005. Since that time Dave has lived and worked in Sydney, balancing his time between travel, developing new projects as part of Oxidise and teaching design at the College of Fine Arts.
Born in 1979 in Bogota, Colombia, Federico engaged in various musical activities from dj-ing to leading punk bands. He moved to New York City at the age of 21 to study Audio Engineering and Design at Parsons School of Design and worked as a late night dj and led more punk bands. Federico joined Fabrica in 2005 and spends his days researching the sonic and processable possibilities of his Fender Telecaster. He also performs experimental music under the alias “BORAXX” in and around Treviso.
Born in 1982 in Udine, Italy, Carlo studied percussion at the age of 10 and played in different bands with the RiotMaker crew until 2 years ago. He studied New Media at Multidas in Turin, Italy which turned his interests from music to interactivity and everything else that concerns communication. Carlo joined Fabrica in September 2005, where he learned how to program and played around with any possible combination of programming and audio-video sources
For further information:
tel. +82. (0)2.512.9053
cell. +82. (0)11.701.4927
Italian Cultural Institute-Seoul
Yookyung Choi (Stella)
1501, Seongdo Bldg,
Seoul, Korea 135-747
COLORS – 15/69
15 years in 69 covers
at the National Library of Korea
from November 14 to December 9 2006
The first issue of COLORS featured a photograph of a newborn baby girl with her umbilical cord still attached to her mother. On one of the most recent issues there’s the calm, dignified face of an AIDS victim. Life and death: the whole history of COLORS is contained in these two extremes and maybe a piece of history of these past years as well. 69 covers, some ironic and fun, others harsh and shocking, that reveal the theme of an issue with a single image.
COLORS was founded in 1991, before internet (the first editorial mentions the fax machine as one of the new technologies making the planet smaller...) and nobody could have imagined that we would end up here. There was a company – and fortunately it’s still here – that had been breaking the rules of advertising for several years and had been building its image in a ground breaking way. The product had slowly disappeared from its campaigns to make room for ideas. But the ideas had become so important that it was getting more and more difficult to confine them to a poster or an advertising page. They needed a whole magazine, preferably a new and different one, that wasn’t about fashion, famous people or current affairs – a magazine that used images to talk about the world through important themes, founded around a unique, great idea: difference is a positive thing and all cultures have the same dignity. And so COLORS was born, “a magazine about the rest of the world”, where the concept of central and peripheral become relative, they merge and lose all meaning.
Over the past 15 years COLORS has seen many changes. Its nomadic editorial offices have moved from New York to Rome, then to Paris and Treviso – where in the interim Fabrica, the Benetton group’s communication research center, was founded – with a few interesting parenthesis: a small town in Cuba, Baracoa, and a refugee camp in Lukole, Tanzania. Then back to New York and finally back to Treviso. In actual fact the COLORS editorial team doesn’t have a real base and it survives mostly thanks to contributions from over 70 correspondents worldwide who offer a different point of view each time. The people have changed – from Oliviero Toscani and Tibor Kalman to all the people who have contributed over the years. The formats and themes have changed. And the world has changed and is changing and so has the method of producing COLORS: from the fast information and “pop” graphic design of the early issues – that has been made obsolete by the internet – to more in-depth, reflective writing, clean design and images taken almost entirely by COLORS photographers, who have contributed to changing the way of producing reportage photography – as the prestigious World Press Photo recently acknowledged.
COLORS has changed, but maybe it has simply changed in order to remain true to itself, to remain faithful to that unique, great idea at its core; the positive value of diversity. These 69 covers talk in different ways about different themes – shopping, war, food, AIDS, slavery, animals, prison, Telenovelas, toys and madness. Ultimately they say exactly what they want to say.
1991. 1. It’s a baby!
The birth of a baby girl represented the launching of the new magazine on the editorial panorama. The image, taken by Oliviero Toscani, had already been used for a Benetton advertising campaign and in this sense it also defined the novelty of the experiment: a magazine that, as it describes itself in the first editorial, is founded on a simple idea – diversity is good – “borrowed” from the Benetton advertising campaigns.
1993. 4. Race
The fourth issue of COLORS was also the first monothematic issue, a formula that continues today. And the theme could be no other than Race, in the singular of course. Because there is only one race, the human race. An issue that faces the theme of racism in a different, ironic way. But the British, despite their proverbial sense of humor, were angered to see a black Queen Elizabeth.
1994. 7. AIDS
For the first time the problem of AIDS was tackled clearly and directly, discrediting prejudices and spreading accurate information on prevention, without being alarmist and with a little irony (like the article about latex fashion). The issue ends with an editorial in which the image of US President Ronald Reagan, victim of the virus, is accompanied by a eulogy for the man he could have been if he had acted differently towards AIDS.
1996. 13. No Words
Tibor Kalman’s last issue, a magazine without words and a tribute to the visual vocation of COLORS.
1997. 21. Smoking
An issue all about smoking, in its different aspects: economic, social and religious. And inside a pitiful Playboy-style pin-up showing all the damage that smoking can do to the human body. A document that the World Health Organization still uses for its anti-smoking campaigns.
1998. 28. Touch
The image of a gay kiss introduces the issue on Touch, the most direct way in which people relate to one another. The issue shows that there are cultural differences and taboos relating to touch.
1991. 31. Water
The cover image shows a little boy urinating to celebrate the vitality of water. It was considered pornographic in Switzerland. The commission in charge of inspecting editorial products ordered that all copies of COLORS be removed from newsstands or wrapped in plastic like pornographic material.
2000. 36. Monoculture
A cover that almost made itself. A reject from a series of photos taken years before by Oliviero Toscani for a campaign promoting the UNHCR (United Nations High Commission for Refugees), representing a bloodstain and that had unexpectedly taken on the shape of Mickey Mouse. What other image could so powerfully have represented the threat of widespread monoculture that COLORS attempt to couteract?
2000. 38/39 Extra/Ordinary fashion
An unusual cover. A fashion photo taken by Patrick Demarchelier for a double issue about fashion. It was also Oliviero Toscani’s last issue. But it wasn’t a contradiction of the magazine’s core values (no news, no fashion, no famous people) rather an anthropological and visual trip through different ways people dress around the world.
2001. 41. Refugees
The issue that launched the new course of COLORS, entirely dedicated to a refugee camp in Tanzania, and produced with the support of the UNHCR. Every photo was taken especially for the issue by the COLORS editorial team and Fernando Gutiérrez gave the magazine a new look. It was the beginning of a series on “communities”. The cover is an original illustration by a refugee who was asked to draw the typical traits of the two peoples at war, Hutu and Tutsi.
2002. 47. Madness
A self-portrait by a patient from the Camaguey Psychiatric Hospital in Cuba is the cover for an issue about Madness. Includes reports from different countries about the living conditions of people with a mental illness. From Belgium where psychiatric patients are housed with regular families to the Ivory Coast where they’re chained to trees like animals and abandoned outside villages.
2002. 49. Tours
A special format for an issue that wants to be an alternative guidebook complete with addresses and information. Includes the Elf School in Iceland,
the Butter Museum in the Czech Republic and a favela tour in Brazil.
2002. 52. Trujillo
A portrait of Rolando Trujillo opens an issue about just one person. Trujillo lives by himself in remote Patagonia. This issue closes the series on communities showing an extreme one made up of only one person. The issue also confirms that COLORS gives a voice to those who don’t have one.
2003. 53. Slavery
A photo of modern slaves in a mine in India opens the issue, made in collaboration with Anti-Slavery International. It dramatically brings to light a problem that many people think is no longer relevant and shows that slaves still exist and are often closer to home than we think (for example a beautiful mansion in Los Angeles, USA).
2003. 56. Violence
The victim of a beating outside a nightclub in Johannesburg, South Africa, is the powerful image on the cover of an issue about violence. It was produced to support the World Health Organization’s Global Campaign for Violence Prevention.
2004. 61. Fans
This issue opens the new American era, with a new editorial team based in New York. It is dedicated to fans of sports, politics, religion and music.
2005. 65. Freedom of Speech
The calligraphy graffiti of Tsang Tsou-Choi is featured on the cover. He believes he’s the king or emperor of China. The issue celebrates freedom of expression and words, helping to mark the 20th anniversary of the organization Reporters Sans Frontiers.
2006. 67. AIDS/HIV
Twelve years after the first AIDS issue, an update on the evolution of the problem and its new geography, with a focus on both personal stories and general issues. On the cover the portrait of Nyameka J. Matiayana, one of over three million people who died of AIDS-related causes in 2005.
2006. 69. Back to Earth
The image of a farmer riding his mule is the symbol of an ideal return to the land and nature. It’s call for sustainable production and consumption. An issue produced in conjunction with Slow Food to support the project Terra Madre, a huge meeting of farming community representatives from around the world where ideas and experiences are exchanged.
For further information:
Italian Cultural Institute-Seoul
4Fl., ERA Bldg., 273-2 Hannam-dong,
Yongsan-ku, Seoul 140-884, Korea