From the portable museum to the make-shift stand of the street corner trader, the migrant’s battered suitcase tied with string acts as an echo of Wittgenstein: “The World is everything that is the case”. (In each case) The contributing artists explore the migratory nature of artistic practice; acting as a global mediation between the aesthetics of trade along the peregrine, wandering routes that lead towards meaning. CURATORS: Sean Cubitt , Vince Dziekan, Paul Thomas. ARTISTS Karen Casey; Mark Cypher; Tina Gonsalves; Mark Guglielmetti & Indae Hwang; Nigel Helyer; Joel Louie, Jan L. Andruszkiewicz, Bryan J. Mather, Kevin Raxworthy, Julian Stadon & Paul Thomas; Mitchell Whitelaw.
- Sean Cubitt is Director of the Program in Media and Communications at the University of Melbourne (AU) and Honorary Professor of the University of Dundee (UK). He is also Professor of Film and Television Studies at Goldsmiths College (UK) Department of Media and Communications. His publications include Timeshift: On Video Culture (Comedia/ Routledge, 1991), Videography: Video Media as Art and Culture (Macmillans/St Martins Press, 1993), Digital Aesthetics (Theory, Culture and Society/Sage, 1998), Simulation and Social Theory (Theory, Culture and Society/Sage, 2001), The Cinema Effect (MıT Press, 2004) and EcoMedia (Rodopi, 2005). He was the co-editor of Aliens R Us: Postcolonial Science Fiction with Ziauddin Sardar (Pluto Press 2002) and The Third Text Reader with Rasheed Araeen and Ziauddin Sardar (Athlone/Continuum 2002) and How to Study the Event Film:
The Lord of the Rings (Manchester University Press, 2008). He is an editor of Cultural Politics and serves on the editorial boards of a dozen journals including Screen, Third Text, Visual Communication, Futures and The International Journal of Cultural Studies. His article on early video art won the 2006 CAA Award for best article. He is the series editor for Leonardo
Books at MıT Press. His current research is on public screens and the transformation of public space and on genealogies of digital light.
- Vince Dziekan, Associate Dean Research in the Faculty of Art and Design, Monash University in Melbourne, Australia. In addition, he is affiliated with the Foundation for Art & Creative Technology (FACT) in Liverpool, UK as a FACT Associate, and most recently was appointed Digital Media Curator of the Leonardo Electronic Almanac (LEA). His research focuses on the impact of digital technologies on curatorial design and the implications of virtuality on exhibitionbased practices. This interdisciplinary investigation has been articulated recently in Virtuality and the Art of Exhibition (forthcoming publication, Intellect
Books, UK). He has exhibited widely in solo and group exhibitions and through independent curatorial practice. He exhibited his demonstration exhibition, The Ammonite Order, Or Objectiles for an (Un)Natural History at Ormeau Baths Gallery in Belfast, Northern Ireland as part of the ıSEA2009 juried exhibition. He is research leader of the Photography & Video Research Cluster at Monash Art & Design, Adjunct Programme Advisor for FACT ATELıER
(FACT, Liverpool), series editor of Transdiscourse (in collaboration with Z-Node; ZHdK, Zurich University of the Arts), and member of the international advisory committee of ReWire 2011 (MediaArtHistories conference, Liverpool) and the Virtual NGV steering committee (National Gallery of Victoria, Melbourne)
- Associate Professor Paul Thomas has a joint position as the Head of Painting at the College of Fine Art, University of New South Wales and Head of Creative Technologies at the Centre for Culture and Technology at Curtin University. Paul was the co-chair of the Transdisciplinary Image Conference 2010. In 2000 Paul instigated and was the founding Director of the Biennial of Electronic Arts Perth. Paul has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space. Media-Space was part of the first global link up with artists connected to ARTEX. Paul’s current research project “Nanoessence” explores the space between life and death at a nano level. The project is part of an ongoing collaboration with the Nanochemistry Research Institute, Curtin University of Technology and SymbioticA at the University of Western Australia. The previous project “Midas” involved research at the nano level the transition phase between skin and gold. Paul has recently completed working on an intelligent architecture public art project for the Curtin Mineral and Chemistry Research Precinct. Paul is a practicing electronic artist whose work can be seen on his website Visiblespace.
Images (PDF) p. 256-263