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<nettime> announcer 19.2 [000506: getting warmer]

     Oliver Ressler <>
     Project Information "Focus on Companies"

                              "-/" <>
                              closky finder updated

          Alice Smits <>
          press release Hotel New York, April 29-30

Lorenz Helbling <>
Zhao Nengzhi at ShanghART

                                        hatice <>
                                        Virtual Exiles

                    Robert Atkins <>
                    [1] The latest from The Media Channel 
                    [2] The File Room

     Natalie Bookchin <>

Ade Ward <>
star lc-20 on /dev/plp

                          (Eyebeam Atelier)
                                   Artists go live

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Date: Tue, 25 Apr 2000 18:13:02 +0200
From: Oliver Ressler <>
Subject: Project Information "Focus on Companies"


Contribution to the exhibition "Model, Model...” of the Neuer Aachener
Kunstverein on the occasion of the RWTH-Project weeks "Der künstliche
Mensch – Visionen des Machbaren” in Aachen, May 4, – June 16, 2000 

"Focus on Companies” refers to the exhibition taking place at the same
time in Aachen "Focus on Genes”. "Focus on Genes” is a travelling
exhibition put together by the socio-culturally agile Hygiene-Museum in
Dresden which attempts to represent genetic engineering "in a popular
scientific and experience oriented way.” 
According to the announcement of the project, the "fundamental contents
of the exhibition, ‘Focus on Genes’ are dealt with in great detail in a
richly illustrated catalogue which was published in the framework of the
‘Gene-Worlds’ project in 1998.” Similar to this preceding exhibition
from the Hygiene-Museum, once again knowledge about genetic engineering
should be presented for "forming your own opinion” and coming closer to
the goal of "weighing out the chances and risks which the use of genetic
engineering offers from a medical, ethical and social perspective.” 
To provide a counterpoint to the five "Gene-Worlds” ("Gen-Welten”)
exhibitions shown in Germany and Switzerland, in 1998 I simultaneously
realized the project "antiGene Worlds: Oppositions to Genetic
Engineering”.* In a text published in the context of this project** I
pointed out that the concept of "Gene-Worlds” is based on the false
assumption that individuals can contribute to the decisions made about
which technologies are implemented and which are not. The decisions
about these things are not made in a democratic way, but, rather, in
connection with powerful financial interests and the political pressure
from companies. In both "Gene-Worlds” and "Focus on Genes,” the
exhibition’s role consists solely in creating acceptance!

The project "Focus on Companies” therefore puts those companies which
advance genetic engineering research and product development at the
center of critique. 
The starting point for the print series produced for the exhibition in
Aachen are current publications from companies such as Novartis,
Schering, Bio-Rad Laboratories and Roche, which appear as sponsors for
"Focus on Genes”. Selected pages from company reports and brochures were
chosen whereby the original texts which thematize the various areas
within genetic engineering are replaced by black framed yellow text
In contrast to the "warning signs” of the "antiGene Worlds” project, the
dangers which arise from the technologies themselves are not at the
center but rather the ecological and social logic of genetic engineering
and its global, socio-political effects. For such areas there is no
place either in the publications of the companies or in "Focus on
Therefore, the texts of the companies’ brochures are covered over with a
political commentary which takes up various themes from the exhibition
(Xenotransplantations, Gentech-rice with Vitamin A, anti-squash
tomatoes) and takes on other perspectives. 


* Oliver Ressler, geGen-Welten: Widerstände gegen Gentechnologien,
Edition Selene, 1998, 84 pages. 
** Various versions were printed in the "antiGene Worlds"-publication,
in the magazines ak – analyse & kritik, iz3w – Blätter des
Informationszentrums 3. Welt and in the GID – Gen-ethischer Informationsdienst.

"Focus on Companies” will be shown in the framework of the exhibition at
various institutes of the RWTH Aachen. 

Oliver Ressler, Steingasse 37/9, 1030 Vienna, Austria, 
T/F: +43/1/913 09 17, E:
Neuer Aachener Kunstverein, Rudolfstrasse 56-58, 52070 Aachen, Germany,
T: +49/241/50 32 55, F: 53 88 48, E:
Office of NAK during the exhibit: Institut für Werkstoffkunde, T: 0241/80-7800

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Date: Tue, 25 Apr 2000 18:45:58 +0200
From: "-/" <>
Subject: closky finder updated

//apologies for cross country //

tired of searching claude closky's pages ?

why not try :[your-lovers-name-here-(pets-allowed-here-too)]

thx to our newly updated pavu-closky-finder, 
be sure to find
claude closky's complete online work

-/ welcome in a plining world ! /-

-//*..\\ - a netart style communication _––\/*

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Date: Tue, 25 Apr 2000 22:20:29 -0400
From: Alice Smits <>
Subject: press release Hotel New York, April 29-30

P.S.1 Contemporary Art Center Gallery 205

Hotel New York is an initiative of the Dutch artist Jeanne van Heeswijk,
that marked her participation in the International Studio Program 1998/99
at PS1. Jeanne has passed the torch to Alice Smits to organize Hotel New
York 2000.
Gallery 205 at PS1 is transformed into a replica of a hotelroom of Hotel
New York in Rotterdam, located in the former head office of the
Holland-America line. Until 1978 people from all over Europa left for
America from this harbour town to find their luck across the ocean. The
studio is called the Willem de Kooning Room, in memory of Willem de Kooning
who left Rotterdam as a stowaway on board of the Holland-America line to
New York. 

With Hotel New York PS1 a cultural line to New York is created. Hotel New
York functions Hotel as a working/ and showing space for artists,
performers, filmmakers and curators. During the year Alice Smits will
invite guests to stay, work and present projects, performances, and
lectures to the public. As a hotelroom, Hotel New York echoes the history
of travel and thus reflects the migration and nomadic movements of the
contemporary art world. While artists and curators travel all over the
world, the hotel room is where it all happens. Hotel New York is a space
for live events focusing on artists projects that emphasis
interdisciplinarity and public interaction. In the intimate situation of a
living space, Hotel New York offers an interesting context for making and
presenting such projects within the contemporary art museum.


On April 29 and 30 between 12 and 6 PM  Serge Onnen will present "Losing
Contact/Losing Clothes".

The new animated films Serge Onnen will present in Hotel New York are
derived from what he calls his 'contact drawings'. Drawing is the binding
factor in all his work, as the most immediate form of communication through
lines and shapes. These contact drawings deal with the ability/inability of
contact between two people rendered in simple gestural images, repeated
continuously in time in the animation loops. Presented on small monitors
within an installation of clothes and things people tend so easily to leave
behind in a hotelroom "Losing Contact/Losing Clothes" refers simultaneously
to the abscence and presence of persons occupying the same space.

Serge Onnen's animation loop can also be seen on internet (To view this animation you will need 
at least a PC p3 or Mac G3 with the sound on and Shockwave macromedia
director/flash shockwave plugin free download at

The animations were recently broadcast on Channel 34 in New York.
Serge Onnen showed his drawings at the Martinez Gallery, New York in
"Inside/outside: pavement", June 1999 (curated by Franklyn Sirmans). He
contributed to the current issue of Zingmagazine in the 3-D project curated
by Sebastiaan Bremer. Last January Serge Onnen curated "Sans Papier", an
exhibition about drawing without paper at Consortium in Amsterdam.

>From May 1st till May 16 Debra Solomon will transform Hotel New York in the
Holodeck New York (2000) an ever mutating, multi-media installation, as
part of a worldwide pilgrimage visiting the birthplaces of digital
mythology touring momentarily through the United States

For information contact Alice Smits via email 113163, or
call 212 726 3048 

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From: Lorenz Helbling <>
Subject: Zhao Nengzhi at ShanghART
Date: Wed, 26 Apr 2000 10:31:37 +0800

     [attached gif omitted @ nettime]

image: Zhao Nengzhi: Expression 2000 Nr.7,=20
           oil on canvas, 220x170 cm, 2000

ZHAO NENGZHI: "Expression"
April 26th-May 5, 2000
Opening: Wednesday, April 26th, 6-8 pm

Born 1968, the artist graduated from the Sichuan Academy of Fine Arts in 
He lives and works now in Chengdu. Zhao Nengzhi has participated in 
several group exhibitions in China and abroad. ShanghART Gallery, 
Shanghai, is pleased to present to first solo exhibition of this 
promising artist.

For further information, please contact the gallery at (86 21) 6359 3923.
Gallery hours: daily 10-8 pm.   E-mail:

ShanghART,   2A Gaolan Rd., 200020 Shanghai, China

ShanghART at ART BASEL, Art Statements (presenting 'Placebo' by Zhou Tiehai):
June 21-26, 2000, Hall 2.1 # H03

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Date: Wed, 26 Apr 2000 16:59:43 +0100
From: hatice <>
Subject: Virtual Exiles

'Virtual Exiles will become a collective way of telling stories, of
digitally contributing our own version of what it means to step between two
spaces at once. Two cultures, two senses of belonging, two countries we are
familiar with. To visually describe this difference becomes an important
inscription to everyday encounters and our writing of the past ......'

David Dabydeen Jan 2000. Author, poet, and lecturer in Caribbean Studies.

Roshini Kempadoo's Virtual Exiles explores the experiences of individuals
who have left their country of origin and who are now at 'home' in another.
What is it that triggers us to make journeys from one place to another?
How is the country we travelled from remembered?   What  is it that is
taken away to recall the country that was once called 'home' for us or our
parents?   Virtual Exiles is about individuals or communities who in
essence consider themselves to be 'exiled' or who are considered by others
to be 'exiles' or 'foreigners'.

Virtual Exiles is a website where individuals and groups are asked to
contribute to an ongoing curated net show.  User contributions and
Kempadoo's own works are presented in four separate spaces, each of which
focuses on particular aspects of the 'exiled' experience.
Frontlines/Backyards concentrates on the politics, cultural and social
discrimination that may lead to 'alienation' and emigrating from one
country to another.  Going for Gold investigates the experience of the
expatriate or adventurer who has travelled for financial motives.  From the
Edge shares visual and written stories of individual's who have sought
refuge from experiences that were threatening or violent. The Colour Museum
explores the notion of those communities who may feel exiled in their own
country, whose culture is packaged and preserved for the benefit of others
to study and observe.

The starting point for the work is a series of images produced using
Kempadoo's own contemporary material, images drawn from private albums and
official archives in Guyana and specific collections at the Pitt Rivers
Museum (Oxford), the Royal Anthropological Institute (London) and the
Museum voor Volkenkunde (Rotterdam).  These images were created by Kempadoo
while investigating her own status as refugee / exile / expatriate / emigre
in her own country of birth (England) and in her country of origin and
upbringing (Guyana).

Virtual Exiles is a collaboration between the Watermans Arts Centre,
Impressions Gallery, Street Level Gallery and ARTEC.  It has been funded by
the Napier University Photography Film and TV Dept, New Media Scotland and
the Arts Council of England's New Media Projects Fund.  A Virtual Exiles
exhibition and workshop participation series is currently being presented
at the Watermans Arts Centre in West London,  The show is available for
touring from the Impressions Gallery from October 2000 onwards.  For more
information about Virtual Exiles please contact Roshini Kempadoo at


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Date: Wed, 26 Apr 2000 14:10:29 -0400
From: Robert Atkins <>
Subject: The latest from The Media Channel 


Is your Web browser obsolete? The cyber-art community might think so. Read
the latest from the ongoing "interfaciology" debate. Plus: Media artists
take on séances, satellite dishes and the walls of Philadelphia. Media Arts
editor Robert Atkins reports in "News and Reviews."

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Date: Fri, 28 Apr 2000 12:13:41 -0400
From: Robert Atkins <>
Subject: The File Room

CONTACT: Ken Jordan 212-246-0202, x3021;


One of the earliest and most impressive examples of online media art is New
York- and Barcelona-based artist Antonio Muntadas's "File Room". Debuting
in 1994, this interactive archive of two millennia of social and cultural
censorship chronicles hundreds of cases of perceived censorship, sometimes,
but not always, covered in the media or other public forums. It invokes
questions about the character of censorship itself and offers a repository,
or hidden history, of thwarted personal and communal expression.  Any
visitor to "The File Room" may add new cases of censorship to the database
by filling out a simple online form. Or search the site by geography,
subject matter, medium or time period. The result is a powerful experience
that makes real the insidious nature and effects of censorship.  It can be
seen on-line at

" is delighted to present and host 'The File Room,' said
Robert Atkins, the site's Media Arts editor.  "We see it as the anchor of
our Media Arts section, and a perceptive critique of the 'consciousness
industry.'  This celebrated artwork was one of the first on the World Wide
Web, prior even to the release of the Netscape Navigator browser."  Mr.
Atkins' coverage of the culture wars appeared in the Village Voice from

Derived from a personal experience in which Muntadas's artwork was
censored, "The File Room" is one of the artist's many works addressing
power relations within society. It was developed as a project of Randolph
Street Gallery (a non-profit art space) in collaboration with the
University of Illinois at Chicago's School of Art and Design. Following its
debut as both a physical installation and virtual artwork at the Chicago
Cultural Center on May 20, 1994, it was immediately acclaimed in the press
· "one of the first art-related events to tap the Internet as an
information pool, rather than as an alternative distribution system for
'zines or digitized images." (World Art, 11/94)
· "The File Room forces us to rethink our relationship to current
technologies and, within that releationship, the role of art in a political
system that has and will continue to censor it." (New Art Examiner, 10/94)
· " 'A lot of the work that interests me in this arena can't appear within
the museum's solid architecutre, but only within the invisible architecture
of the Internet,' " [then-Whitney Museum of American Art director David]
Ross says. His inspiration? The File Room." (Wired, 12/94)

When Randolph Street Gallery closed in 1998, Muntadas began considering
other online venues for it. Unlike conventional artworks, an interactive,
ever-growing project like "The File Room," demands computer server space
and upkeep. After many discussions with museums, Muntadas selected The
Media Channel as a kind of experiment. "Since contemporary work is not
always relevant to museums" he observed "It is important to create a new
context for it on the Net."

The return of "The File Room" to the Web was made possible by support from
The Rockefeller Foundation. The University of Illinois and Randolph Street
Gallery provided support for the initial realization of the project.

Muntadas's first gallery exhibitions in New York since 1995 are now
visible, through May 27, at Kent Gallery, 67 Prince St and 113 Crosby St in

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Date: Fri, 28 Apr 2000 09:14:06 -0700
From: Natalie Bookchin <>

Join us for the <> Season Finale!

Matthew Fuller and Simon Pope present:

Technical Innovation = Class War

May 10 at 8 PM at The Museum of Contemporary Art
250 South Grand Ave, Los Angeles
The lecture is free and open to all.

Matthew Fuller and Simon Pope are part of the artists' group I/O/D, 
formed in 1994. Initially a multimedia publication, their work took a 
skeptical and exploratory view of the conventions of interface 
design, leading to the production of the alternative browser "The Web 
Stalker" available at Over 500,000 copies of 
this critical and practical software have been distributed worldwide. 
A current project, "Into the Web" is a software installation 
commissioned by the architect Zaha Hadid, for the Millennium Dome in 
Greenwich, London.

Matthew Fuller is the editor of "Flyposter Frenzy, Posters from the 
Anticopyright Network", "Unnatural; Techno-theory for a Contaminated 
Culture" and co-editor of the Nettime anthology "README! ASCII 
Culture and the Revenge of Knowledge".  He regularly collaborates 
with  Mongrel ( Shake Editions 
( have just published his novel, 
"ATM". His research is currently focusing on a social and cultural 
analysis of software and includes a deconstruction of Microsoft Word.

Simon Pope's handbook "London Walking" will be published by Ellipsis 
this Fall. His project "Ice Cream for Everyone" recently appeared at 
the Institute of Contemporary Art (ICA) in London 
( He is a lecturer in Business Information 
Systems at University of Wales Institute, Cardiff and producer and 
software developer for BBC Online.

Van rides from Calarts to MOCA are available for the lecture. Meet in 
Room A116 before 6:30 PM. Space is limited.
<> is a collaborative effort between the CalArts Programs in
Photography in the School of Art, Integrated Media and MOCA.

For further information please call 661-291-3064, write to or visit our website.

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Date: Fri, 28 Apr 2000 20:31:39 +0100
Subject: star lc-20 on /dev/plp
From: Ade Ward <>

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Date: Sat, 29 Apr 2000 08:24:16 
From: (Eyebeam Atelier)
Subject: Artists go live


May 6-27, 2000 @ 542 West 21st Street -- the Future Site of Eyebeam
Atelier's New Museum of Art and Technology
Open to the Public: Saturdays 3-9 PM
Opening Reception: Saturday May 6, 6-9 PM
Open by Appointment during the Week by Calling 212.727.8126
Simulcast: &

" a multimedia symphony of overlapping windows rhythmically
popping up then disappearing on screen in sync with a spooky
soundtrack.  Combining live performance art, with videoconferencing,
chat and graphics, it examines such diverse topics as biotechnology and
online marketing." - Time Magazine, April 20, 2000

(New York, NY) -- In conjunction with their inclusion in the 2000
Whitney Biennial, Fakeshop will present an off-site new media art
installation entitled "The Human Use of Human Beings" (HUHB) during the
month of May.

HUHB is a reactive installation in which the viewer enters into a
network of rooms constructed of industrial materials. Finding
him/herself confronted by a cluster of surveillance monitors and
cameras, the viewer becomes a participant whose attention is re-focused
on his/her own eye-to-hand, mouse-pointing/clicking behavior. This
behavior becomes functionally linked to the overall environment, which
is modeled upon human-to-machine interface systems developed by Norbert
Wiener in the 1950s.

This system of self-surveillance simultaneously addresses issues of
privacy and personal value currently being aggravated by net practices
of the E-commerce industry.  By secretly embedding mini-applications
called "cookies" to a user's hard drive, clicking behavior can be
tracked in detail. Online marketers create user "profiles" of personal
data that they collect and sell in the online marketplace.

The live-action aspect of the installation will involve an extended,
staged scenario in which the "user" is encouraged to "click back at" the
information harvesters. Online, the installation will be open to remote
access through CuSeeme video-conferencing technology and a specially
designed applet that re-appropriates "cookie" technology, turning modes
of net-based surveillance inside out.

"In the eyes of online corporate marketers, we have become vision
machines whose sole value is based on our number of clicks." - Fakeshop

HUHB sponsors include Eyebeam Atelier <>, France
Telecom <>, JumpCut
<>, and Digital Island <>.

Fakeshop <> is an ongoing digital art
collaboration of Jeff Gompertz, Prema Murthy, and Eugene Thacker that
combines video-conferencing, Internet art, and performance.  Fakeshop is
focused on video-conferencing as an art medium, and on the forms and
ephemera created as a consequence of that medium. The Fakeshop Web site
provides a remote point of entry into various live and archived setups,
hookups, and site-specific installations.

Eyebeam Atelier <> is a not-for-profit new media
arts organization that initiates, presents, supports, and preserves
artworks created with computers and digital tools. Eyebeam is presently
planning a new facility at 540-548 W 21st Street that will house a
museum dedicated to art & technology, Artist-in-Residence studios,
multimedia classrooms, a digital archive, theater, and cafe.  The
mission of the museum is to become an important and distinguished public
resource for the dissemination, education, and discussion of new media art.


Eyebeam: Adam Lerner,, 212.431.7474, ext. 23

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