Videoart and netart
Short synopsis
Silent Cry is the visualization of an internal cry happening all the time, when society does not allow to show deep emotional affection. The silent cry is always present caused by never ending traumatizations during decades hidden behind the facade people wants to see. And even if the cry would be be seen or heard, people would refuse to face it. The work release is giving sound a particular relevance.
Details:
Technical notes :
Title: Silent Cry
Format : Video
There are two work versions
Verson 2.0
release date: 15 October 2016
Video format: PAL 16:9 HD 1920×1080
duration: 3:40
exhibition format: mp4, DVD, Blueray
version 1.0
release date 2008
Video format : PAL 4:3 SD 720×576
duration 3:04
Shooting format : miniDV
Exhibition format: miniDV, DVD
Credits:
Director: Agricola de Cologne
Producer: Agricola de Cologne
Editor: Agricola de Cologne
Script/concept: Agricola de Cologne
Sound: Agricola de Cologne
Cinematography: Agricola de Cologne
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Festivals/Screenings
2020-2012
WOW Jubilee III – Halle Zollstock Köln – 1 March 2020
National University Kharkiv / Municipal Gallery Kharkiv 10-12 April 2018
AVI – Art Video International Festival Jerusalem/Isrel – 1.-23.12.2017
Zona de Morana Avila (Spain) 11-13 September 2015
TENRI – German-Japanese Cultural Center Cologne 16 May 2015
Torrance Art Museum – Los Angeles 6 Nov – 6 December 2014
Museu da Vila Velha Villa real /Pt – 22 November 2014 (FONLAD)
Damen & Herren – Düsseldorf/Germany – 10 October 2014
Onomato e.v. Düsseldorf/Germany – 25 September 2014
JICC Vilnius/Lithuania – 23 Sept – 27 Oct 2013
Contemporary Art Centre Tbilisi/Georgia – – 16-18 May 2013
Now & After Videoart Festival Moscow – April 2013
EuroShorts Film Festival Gdansk/Poland – 21-25 November 2012
Cinemateca Nacional & Centro Cultural Metropolitano Quito/Ecuador -24 August 2012
A Virtual Memorial Phnom Penh 2012 @ Meta House Phnom Penh – 12-15 July 2012
Generation Loss Festival Manila 14-28 March 2012
2011
Buenos Aires (AR) – Optica Video Festival – 16-18 December 2011
San Luis Potosi (MX)- Centro de las Artes – 8 December 2011 – CologneOFF 2011
Mexico City (MX) – Media Fest CologneOFF 2011 – UAM – Universidad Autonoma Metropolitana 14 & 15 Nov 2011
Mexico City (MX) – ExTeresa Arte Actual – 10 & 11 November
Bernado’s House Museum FONLAD Coimbra (PT) – 15 October
Encuentro en Zona de Moraña (Spain) – 9-10 Sept
Optica Video Festival Madrid – 16-18 Sept
Riga (Latvia) – Waterpieces Contemporary & Video Art Festival – 8-10 Sept
Beirut (Lebanon) – Shams – The Sunflower – 31 Aug – 3 Sept
Proyector Video Art Festival Madrid (Spain) – 14 July
Tallinn (Estonia) – Estonian Academy of Art – 1 & 2 June
Tampere (Finland) – Gallerija Rajatila – 26 May
St.Petersburg (Russia) – ProArte – 20 May
Szczecin Cultural Observatory 2016 (Poland) – 12-14 May
Arad Art Museum (Romania) – 30 March – 1 April
City Art Gallery Chrkiv (Ukraine) – 17-20 March
Goethe Institute Kiev (Ukraine) – 14 March
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2010
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Videoart Festival Giessen/Germany – 30 October 2010 –
International Film Festival Naoussa/Greece 30 Sep – 3 Oct 2010
OSLO SCREEN FESTIVAL (NO) on VISUALCONTAINERTV – 2-29 September 2010
Festival internacional de cine y video alternativo y comunitario “Ojo al Sancocho”, Ciudad Bolívar La Paz, 17 – 24 September
memo.real project.collateral /august in art biennial.varna 2010 – 12-17 Aug 2010 – dora bulart gallery varna
“Festival Mediu Güeyu”, Fundacion Cardin -Villaviciosa (Asturias, Spain) 3-5 September 2010 – Optica selection
Galería Texu Oviedo (Spain) Optica selection – 5-31 July 2010
“Festival Proyector 2010” – Optica Videoart – Espacio Menos Uno Madrid (Spain) 5-31 July 2010
AllArtNow International New Media Art Festival Damascus/Syria – 25-30 May 2010 – Silent Cry
Loop Video Festival Barcelona – Optica selection – 13-17 May 2010
Emergenzaarte – videoart festival – Santa Maria die Sale (Venice) – 10 April 2010
Oslo Screen Festival – 12-14 March 2010 – Oslo/Norway
Videoformes Clermont-Ferrand/F – 10-28 March 2010
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2009
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Rauland Kunstforeningen Rauland/Norway – 30 December 2009 – Art Video Exchange Norway
Yogyakarta International Videowork Festival #05 – 11 – 20 dec 2009
Visions in New York City – Video Art Festival – 02-13 November 2009
Cultural Centre San Martin Buenos Aires/AR – Optica Festival Review ’09 – 5-7 November 2009
MEM Festival Bilbao/ES – Optica Festival review 2009 – 4 November 2009
Optica Videoart Festival Gijon/Soain – 29-31 October 2009 – Silent Cry
ShootOFF – Experimental Video Festival Paris/F – 17-23 October 2009
Digital Fringe Melbourne (Aus) – 23 Sept- 11 Oct 2009 – Silent Cry
Optica Videoart Festival Madrid- Casa de America Madrid/Spain – 15-17 October 2009
Art Video Screening – Orebro/SWE – Bio Roxy – 17 October 2009
“…a very loud silence” curated by Avantika Bawa at Le Flash Festival Atlanta/GA – curated by Cathy Byrd and Stuart Keeler – 2 October 2009
Optica Videoart Festival Optica – Centro Contemporaneo Huarte/Navarra – 29 September – 2 October 2009
Optica Videoart Festival Paris/France – 24-26 September 2009
FestiNova Festival Garikula/Georgia – 5 Aug – 20 Oct 2009
Optica Video Festival Cordoba/Spain – 11-13 September 2009
Optica Video Festival La Paz/Bolivia – 20-26 August 2009 –
Optica Video Festival Buenos Aires/Argentina – 27-29 August 2009 –
FILE – Electronic Language Festival Sao Paulo/Brazil – 27 July – 30 August 2009
Ceramic Museum Lisbon/PT – 16 May 2009 Screening
Gallery La Sala Cigüñuela/Spain – 17-29 April 2009
HEP – Brancaleone Club Rome – screening 14 March 2009
CeC – Carnival of e-Creativity New Dehli/Sattal (India
27 February – 1 March 2009 – part of “the solo retrospective “Some Minutes of a Time”
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2008
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Digital Salon at MACZUL – Museum of Contemporary Art Maracaibo/VE
2-10 october 2008 – part of the solo presentation “Some Minutes of a Time”
Gijon/Spain – Instituto Antiguo – venue of OPTICA Videoart Festival – 2007-2010
Until 2012, the videos were mainly recorded on miniDV, most of them were originally edited in standard defintion 720×576, however if it has been technically and conceptually possible, they had been recently re-edited in HD (1920×1080). The later videos were recorded on mp4-HD format.
Agricola de Cologne is not only the director of his films & videos, but also the producer, cinematographer, editor, composer & sound designer.
Recent works 2023-2015
The Re-Interpretation, 2023, 7:20
Danse Macabre, 2022, 5:30
We Are Blind Because We Don’t Want to see, 2022, 6:00
Oaktown, 2020, 17:00
Soulpower, 2020, 15:00
The Corona Video, 2020, 5:30
Impatience, 2019, 2:55
Chernoshima, 2019, 7:40
Prison of Mind, 2019, 6:30
For Europe – 2018!, 2018, 01:00
Project I am My Father
A Letter From My Father, 2017, 4:10
The Letter My Mother Never Sent, 2017, 4:30
The Song of Day After”, 2017, 4:26
Dawn, 2017, 6:10
Shatila Lost Island, 2016, 20:00
The Plea, 2016, 40:00
POLAK – Stages of Memory, 2015/2018, 24:00
in alphabetical order
138 Seconds of Peace?, 2003, 2:18
]and_scape[, 2002, interactive
A Letter From My Father, 2017, 4:10
Bareback – serial DIScharge, 2007, 6:40
Beyond All Media, 2001, interactive
Burning Phantom, 2009, 1:00
Chernoshima, 2019, 7:40
Compressed Affair, 2001, interactive
Danse Macabre, 2022, 5:30
Dawn, 2017, 6:10
Distortion Projected, 2005, 4:50
en [code] ed, 2008, 5:50
Evolution – Involution, 2006, 10:00
For Europe – 2018, 2018, 1:00
Hairdryer, 2008, 1:30
Home So Near, Home So Far, 2006, 11:30
House of Tomorrow, 2005, 3:10
I am My Father: Song of Day After, 2017, 4:46
Identity of Colour, 2001/2016, 07:07
Impationce, 2019, 2:30
Inability of Being Nude, 2004, 2:00
Memory Game, 2010, 8:00
Message From Behind A Wall, 2005, 10:00
Message to Our Neighbors, 2003, 1:00
Mi Nombre Es Wilfried, 2009, 6:00
Morire Cuba, 2006, 4:00
Mother & Child Convention, 2001, loop
Never Wake Up, 2001, 2:40
Oaktown, 2020, 17:00
One Day On Mars, 2006, 6:00
Orfeo Negro, 2006, 4:20
Paint The Time, 2007, 9:40
Passion, 2012, 1:00
Predator, 2012, 2:40
Prison of Mind, 2019, 5:40
Pocket Camera, 2001, loop
POLAK – Stages of Memory, 2015, 24:00
Radio Flyer, 2009, 8:00
Rivals and Friends, 2005, 2:20
Shatila – Lost Island, 2016, 20:00
Silent Cry, 2008, 3:40
Soulpower, 2020, 15:00
Sinamaica Embarkments, 2012, 12:00
The Letter My Mother Never Sent, 2017, 4:30
The Plea – A Palestinian Trilogy, 2017, 38:00
Timed Out, 2008, 9:30
The Corona VIdeo, 2020, 4:24
The Plea, 2016, 40:00
The Pleasure Code, 2009, 1:00
The Rehearsal, 2006:5:00
The Re-Interpretation, 2023, 7:20
The Song of Day After”, 2017, 4:26
Transience, 2003, interactive
Trash! – True Lies, 2003, 4:40
Trauma, 2011, 1:00
Truth: Paradiese Found, 2005, 3:00
Urban.early sunday morning_raw, 2008, 3:50
We Are Blind Because We Don’t Want to see, 2022, 6:00
What Happened 2011?, 2011, 1:00
For viewing a representative selection of videos from the years 2001-2022, enter the Agricola de Cologne Darkroom @ Alphabet Art Centre
Netart
Art on the Net – 2001-2002-2003
Machita City Museum of Graphic Arts Tokyo
About the “Art on the Net” project
The Machida City Museum of Graphic Arts, Tokyo (MCMOGATK) locates on the outskirts of Tokyo megalopolis. Its collection consists of 16000 of printed artworks from western and eastern world.
The Museum is also notorious for its art festival on the Internet. It has been steering “Art on the Net,” a project using the Internet as a space for artistic expression. Since 1995, this project has been calling on artists around the world to think together what the relationship between the Internet and art could be. On the seventh year in 2002, under the theme “9.11,” we were able to see artists from 20countries taking part in the project. In the past seven years, technology and theme used for the project represented the changes and developments of the relationship between the art and the Internet.
*Art Of Torture – Art against Torture – NCCA Kaliningrad (Russia)
Seconds: Forever 2001
ART OF TORTURES AND EXECUTIONS – ART AGAINST TORTURES AND EXECUTIONS
THE CONCEPT
The project “ART OF TORTURES AND EXECUTIONS – ART AGAINST TORTURES AND EXECUTIONS” represents the open social network art communication on the given problem exhibited and realised in different forms of human activity
Open
Free access of the participants in the project despite of the active invitation of separate persons. Besides the openness is considered by the network nature of the project, large format and medial level of the subject.
Social
The “sociality” is dictated by the actual problematic level of real life in notifying the phenomenon of tortures and execution. Strengthening of contrast in the world between polar anthropogenous formations occurs with larger acceleration, increasing a gap between them. On one pole there exists functional-mechanised technogenious type of a human being, on the other one – practically not even changed for elapsed millenniums the primitive societies. The space between them is occupied by a great deal of ethno-confessional groups; among the number of general factors unifying them the most significant and expressive ones are attributive-ritualised tortures and execution.
The social aspects may include the verifying result received on the final stage of the project as statistically representation information about social-cultural human activity on the concrete item.
Besides the conflict dual stand of the man as entities reasonable (Homo Sapience) is trusted to the basis of the project. On the one hand is the center of cruelty, it is most refined “machine” of violence and destruction; with another – is an institute of the law and protection, engaging problems of an ecology and preservation.
Network
Network – is the most friendly intermedial communicative shape of relationships and connections. In connection with the off-the-shelf delivery devices of the information, the mobility of obtaining of news, total propagation of networks on a civilized world are augmented of involving by the mass audience in possession of having the information (knowledge). And, simultaneously, there is an alignment of the privileges of the State in inviolability, obtaining, forwarding and broadcasting of the information.
Art
According to the definition the institutionalized Center for Contemporary Art initializing and bringing the given project to the society deals with art. Defining the project as art but not multicultural one and inviting to participate all creative and intellectual persons and collectives that are able to make art-reflection on the given problem actual in different spheres of the society, the author of the project is a field receptor and consequently the environment begins to react on it realizing in a form of art events. Locally artistic implementation of the topic in the supposed borders may vary, clone, mutate, dissolve and concretize in local discourse space.
“Tortures and executions”
It is senseless to philosophize by concept of violence as a category, the presence of which one is total in material life by virtue of natural or, if it is necessary, godhead–devilish origin.
The urgency for society gains a phenomenon of the truly and extremely human invention of contextually-applied violence. Practicing, the most advanced professional hangman, are in step with technical advance, innovating the means and methods, reaching thus of perfection and efficiency in the process of tortures, and frequently and highest humanity, killing without excruciating and pain. Those are the dialectics of infiltration of technical advance in the most private and intimate fields of human or antihuman activity.
“Art of tortures and execution”
The subject of aggression and violence in the field of art can be attributed to a general place, to the main stream of the today’s art scene. The subject of aggression and violence in the field of art can be attributed to a general place, to the main stream of the today’s art scene. Only lazy one has not cut to itself veins publicly, or – it is even better – to the partner on the workshop. On the traditionally worn out problem: “Where is boundary between art and life?”, today even “not advanced” one, not at all intellectual responds: “Everywhere and anywhere” or “Where we’ll marked it, there also will be”.
“Art against tortures and execution”
Promoting the given subjects in public artistic consciousness the curators of the project again and again urge the participants of event to interpret design idea and through the creativity to call a public resonance in society against violence of anthropogenous origin.
Art on the net
There are different definitions what “netart” might be, the most plausible one is related to two aspects – art and net (net = Internet – net=network). For Agricola de Cologne netart has its right to exist only when the piece of art is based on Internet specific technology to be used therefore only when it is located on the net. The Internet means public space for them who have access to the net, and the work is accessible for free, in terms of without payment and/or password. Netart, however does not mean, that an artist has to be restricted to one certain topic – the Internet and related issues, including certain dogmatic ideologies. One has to consider the entire spectrum of art on the net, in order to find out, how artists find their individual use of art and the net.
But in the year 2022, exactly this is not possible any longer for different reasons. Many of the artists active during the years 1998-2008 are not active any longer and not only the artists, but also their works vanished without any trace, but also all instances hosting such artworks and therefore also the hosted artworkes vanished from the net.
Agricola de Cologne – the manifestation of “netart”
But Agricola de Cologne did not vanish, despite the fact that the technology carrying his virtual existence during the first years vanished. As an art project himself, his virtual existence has to be considered primarily as netart, in so far his entire work as it is manifesting itself online, is representing “netart”.
@ Universitá degli studi di Napoli L’Orientale – Vito Campanelli – Tiziana Terranova – Agricola de Cologne
An interview with Wilfried Agricola de Cologne
by Diana Marrone
December 4, 2006
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Net art is the new form of ultrapop communication tools. Is it the victory of graphic designers versus fine arts researcher/artists, or, in a more strategic view, is it a new current in which signs of the times are more evident?
I am not sure if this question is just an ironic way to describe the current situation of “netart”. In any case, it makes a certain problem visible, as there does not exist a binding definition of “netart”. For answering this question seriously , I think netart should be not just measured how it is practiced currently but take also a view on the comparingly short history of art on the net, which is on the other side quite dramatic and not short at all, while facing the rapid development of technology and its continuously changing use also in art since the start of the Internet, but in this historical context also to take a longer view on the art works which belong to this new art genre, and then it would become obvious, that the different phases of technological development cannot compared with each other. So, indeed the signs of the time are more than evident. But this is only a little part of the truth.
The viral and networking vocations of ‘internet based art’ represent rather the situationist and relational art of the Dada. This is the most precious value in a non-talkative and violent world. If you agree on this viewpoint, are these two vocations the product of the display (internet, i.e. the excellence of the public domain) that is able to produce the changement of preference of the artists on relation versus production? Or is this era with all the new software production that widened the preference for tech artworks that are able to communicate..?
I would not reduce “internet based art” just to these two vocations, as I do not think that they are exclusively representative for Internet based art. What you call “viral”, I would interpret as specific characteristics of the net, that information, respectively countless copies or clones of it, can be spread in a few seconds in real time to any place on the globe, and this represents indeed a relevant point in the consideration.
I think artists may have different reasons why they feel a need for networking, and why they choose a form of artworking which has as a result of creating not a final product to be sold on the market. I think both vocations depend on each other and may certainly have an imminent influence on the decision why artists choose the development of a relational art creation, but as I see it there are actually many individual reasons, (and there are quantitatively not too many artists worldwide) to do such a radical step from the general commercialization and de-socialization towards its contrary.
When I became active in the field of Internet based art in 2000, I had no idea what might result from this indeed visionary decision to start this experiment. And as the essence of this experimenting and exploring, consequently (I would said today) the networking aspect came into the foreground which again leads automatically towards a de-materialized field of art. I would say, the Internet had in my personal case a kind of catalyst effect, but if I would have not been ready or willing to follow such a relational (communicating and networking) path, if I would not have seen perspectives in it after I started, I would not have done so, I am sure. The software aspect belongs actually to the spectrum of these two vocations and forms rather a condition than an alternative. In my case, the rapid development of software and technology has a stimulating effect even if I do not try everything just because its new. It challenges me continuously to rethink what I have done, and in the given case to modify, optimize or erase
So, all is connected to each other and depends on each other, and the values – what is more relevant – are changing continuously.
Violence, memory, identity: 3 icons of our times and also hot topics in a very instable era. These icons are underlined by your new media projects and seem to fill the net also in a talkative perspective (blogs, videoblogs, chat). Is internet a place for memory even if to erase and to build a new page is easy and without any guarantee of creation date? Is internet a place to speak of identity if there you maybe 1, no-one or one-hundred-thousand, just to quote the very famous Italian author Pirandello?
For me the Internet represents an ideal memorial space and I use it as such intensively in different concern. It reaches a wide audience which is sharing this memory. But the type of memory posted on the net is one-dimensional and cannot be compared with the complex structures of human memory, for instance,
which is from its structures multi-dimensional. As a memorial space, the Internet is containing just a specific type of memory in form of the information, people post on the net, thus this is strongly subjectively selective, but in its totality also unselective, as everything can be published. It needs a critical brain to separate the subjectively useful form the useless information. In fact it does not matter, for how long information is posted on the net and whether it is partially or completely erased now and then , as it would be an utopia and is not the basic goal of the Internet to preserve all information or knowledge of mankind or document all steps and processes, this would be an illusion all the more, as the majority of world population has no Internet access at all and is not able to share any information; and one aspect has not to be forgotten: one of the main purposes of the Internet is of economical nature. The Internet is a temporary memory for those who have the possibility to use it, and the user is receiving just a snapshot of this memory according certain filters each time he is visiting the Internet. Art on the net has the potential to give the Net an additional dimension of memory. How I see it, sometimes it gives, sometimes not.
It is not wrong to face the Internet as a space of identity as well, while memory and identity depend on each other and are sometimes even identical. Although this memory has gigantic dimensions and a really large and continuously increasing quantity of users is surfing through the net, in contrary to what one might expect, there is in fact just one type of identity, the virtual identity, even if this may have most individual expressions.
How many screenings of R R R, your festival, have took place in a physical space? How many people were standing to see and how were the virtual contacts? Which were the more suitable for the media, according to you?
The [R][R][F]200x—>XP project is focussing on global networking the thematical aspect of “memory and identity” and a specific presentation form, i.e. the exchange between virtual and physical space via physical installations. As a project which is entirely Internet based, it contains automatically divers interactive components, and the physical installations were also basically interactive. So, this project has not been screened in the sense of the word, even if it includes potentially also a screening component. The project was presented in most different forms partially or in its totality more than 50 times in physical space between March 2004 and December 2006.
But it would have been frustrating if people would have just stood and see instead of taking another position and exploring actively the gigantic project environment.
The virtual contacts were in fact the most prominent ones, as the process of the project development forms a relevant aspect in its realisation, of course , and the installation of the networking structures of this globally operating project were exclusively based on virtual contacts, not to mention the contacts to all the hundreds of artists, curators, institutions and organisations and finally the audience as the most important networking instance, and it does in fact not matter whether there was a physical audience or not, the audience which was exploring this project and communicating was also always virtual. There are no statistics which were counting all the visitors in physical space or all the countless virtual contacts which were necessary to develop and run the project, and the intensive communicating is still lasting. The site statistics of the RRF project makes it however obvious, the project is and was raising really many online visitors. Also, it really cannot be said which kind of contacts were more suitable, both were very suitable due to or despite of their difference.
De Cologne stands from your present domicile. Agricola stands for what? Nature, the very beginning of the eras?
Is identity such a light predicate for the virtual world that you may do not need a true name? Do you have had other names before this?
Agricola de Cologne, does not represent just an artist brand, but it is also and basically my artistic program.
Agricola is a real name which is listed in my passport. In fact, Agricola represents the Latin word for the German “Bauer” or English “farmer”, but in Renaissance times educated people changed not only in Germany often their family names into a Latin as Latin was the language of the educated people, there exist numerous humanists, philosophers and painters by name of Agricola. At the high school, I learned ancient languages like Latin and Greek, and I have a close connection to the Greek philosophy and the humanism. So, Agricola stands for the humanist and humanitarian ideas behind my artistic work, Cologne is not just the place where I live since 25 years. Founded by the Romans, the city is more than 2000 years old and was during the centuries until these days always an important centre for the arts.- Cologne nowadays, stands basically also for the city of the media, it is hosting a very important film industry, most TV stations in Europe are located here and it is an important place for art and media, think of the famous media art academy KHM. So, Cologne is standing for awareness for history and but also the future. – in concern of art and Media. Combine “Agricola and de Cologne!”, then you have an artist brand based on a certain program as it is manifesting itself through my art working. Indeed, the brand “Agricola de Cologne” is existing only since the year 2000, before that my name was just Agricola. In fact, it was this virtual existence and the possibility to use the virtual environment of the Internet as the basis for experimental artistic creations which let me survive after the traumatic breakdown before 2000.
The failure of netart – the failure of technology
But not only the artists and/or their art works vanished, but also the technology/software/plugins used at a certain time vanished due to the technological progress, software/browsers became obsolete and were replaced by mostly new, mostly incompatible applications. An artist using these technologies had to keep himself updated continuesly – offering new chances, but also disadvantages. Therefore, it would be better to discontinue using the term “netart”, at all.
One crucial point of the technololy based art form “netart” is the technology, as such, or more precisely the fact, that especially the popular technology (software) was provided by commercial companies following their own commercial/monetary success and development, whiLe on the other hand all attempts failed to replace these commercial applications and their advanced technology through a licence-free technology. There was the contradiction between the conceptual ideas and the reality.
Most, but not all artists creating art on the net were preferably using the software – Shockwave and Flash by Macromedia – until this software company and its software development was taken over by the competitor and software giant ADOBE, resulting the slow decline of this multi-media software, until both software applications/their support were discontinued after 2018 – so the work of thousands of artists active in the field of Internet based art can be considered as lost, as if it wouldn’t have existed ever.
Concerning his comprehensive individual (smaller sized works, Agricola de Cologne created for the net, all were executed in Flash by Macromedia and therefore no work can be longer reviewed on the net. This is particularly good for the interactive works, but also for other ones developed in a linerar way like videos. However Agricola de Cologne’s Flash videos were mostly non-linear programmed and concerting them into linear video had to fail. For those linear works it was simple to convert them into current technologies like video mp4, all other non-linear developed works are affected from the art overkill ADOBE decided for.
All the Flash based works however can be displayed and exhibited offline, this is also good for “The RRF Project”, for instance, but then these interactive works loose their status to be “netart” because the links to other Internet resources do not work any longer. There is remaining not even a simulation of the non-existing, while the shape/aesthetics of the artwork is still existing, but which out ony function, and therefore the previously used terminology “netart” is obsolete, as well, and one would better speak simply of multimedia works or forget all, at best, completely.
But, the existence of AGRICOLA de Cologne did, of course, not depend on a certain technology. Already before the free-licenced blog technolgy became popolar, Agricola de Cologne recovered its potential amd started in 2005 by using the blog context WORDPRESS for the new “netEX Project” (calls & deadlines) as the first one – step by step the new “blogs” replaced the HTML- Flash enriched sites (projects), which allowed to use the interactive multi-media Flsah contents, until Flash was disabled. HTML 5 and mp4 became the video standard, while the potential of multi-media baseed interactivity, which Shockwave and Flash were famous for, got lost, at least for artistic use.
The list below, however, incorporates primarily the smaller interactive and streaming netart pieces, which were mostly realized in the framework of larger project environments like “A Virtual Memorial” , for instance.
Netart (2000-2007)
The net based works – created during this period were programmed in Flash – are taken from the net and remain in quarantine, however, they can be presented in physical space in their original state on request.
Rome – MAXXI
NETSPACE: Travels to Art on the Net
Elena Giulia Rossi
Travelling in Internet is still possible, but in terms of netart it is a travel without return. The opening of the show at MAXXI – The Museum of the Art of the 21st Century in Roma
is representing the occasion to set a focus again on “NETART” and its potential concerning medium of the Internet, and at the same time to commemorate the comprehinsive JavaMuseum show in the framework of NewMediaFest2007. The show “Netspace-Travels to Art on the Net” – curated by Elena Giulia Rossi at MAXXI is just a short time earlier than the JavaMuseum show – Seven Ways for Saying Internet with Net Art – which the same curator is curating for JavaMuseum. The today’y article would like to honor Elena Giulia Rossi for curating both shows, and by setting the focus on the JavaMuseum context 2007, to honor all participating artists and those works which still are available as a travel destination in the net.
At the same time, JavaMuseum is announcing its transformation in 2021 into The New Institute for Contemporary Art & Media Archeology – dedicated to research and presevation of media technologies threatened with extinct, for instance Shockwave or Flash – and place the threatened works into a special exhibition context, it is the transformation of JavaMuseum for a higher goal.
Netspace: Travel to art on the Net
MAXXI – National Museum for Art of XX! century Rome/Italy – curated by Elena Giulia Rossi
2 December 2006 – 28 February 2007
Netart Features of the Month in December 2020
MAXXI Museum Rome
]and_scape[, 2002 , interactive, Flash
httpS://agricola-de.cologne/video/volume3/and_scapes_x.html
Interactive moving picture created in Flash by media artist Agricola de Cologne
inspired by poetic texts of Liubov Sirota, an Ukrainian Tchernobyl survivor.
The work is telling something about landscapes
imaginary landscapes, flourishing landscapes
landscapes of illusion, landscape of hope, landscape of innocence
landscapes of being home, landscapes of unscathed genetics
landscape of giving home to all beings of the Creation.
Are there any landscapes any longer, did not they dry out, blasted, shrinked to minimalism through the will for destruction, the bombs over Hiroshima, Chernobyl the completely mined enviroment which leaves no air to breath, the mountains of garbage collapsing……………..
who will remember all those little children
who will be born again and again
who will never get any chance to survive.
We will remember,
we will reconstruct forgotten landscapes
But will we succeed?
The work is developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.
Voice and sound performance by Agricola de Cologne.
Article in Flash Art
Elena Giulia Rossi – curator
(Rome, 1971)
Elena Giulia Rossi works and lives in Rome where she has been collaborating with MAXXI – museo nazionale delle arti del XXI secolo since 2002.
In 1999 she achieved her degree at the University of Rome La Sapienza with a major in History of Contemporary Art. In 2002 she graduated from The School of The Art Institute of Chicago with a Master of Arts in Arts Administration. She collaborated with P.S.1 Contemporary Art Center, New York (summer 2001), and at The Renaissance Society at The University of Chicago (spring 2002).
In 2003 she published in Italian Archeonet. Viaggio nella storia della net/web art e suo ingresso negli spazi dei musei tradizionali (Lalli Editore, Siena). Archeonet was revised by contemporary art magazines such as “Arte e Critica” (n. 35/36, ottobre – dicembre 2003, p.89); “Next Exit” (n. 13, december 2003, p.50) and the online magazine “Neural.it” specialized in new media (19 aprile 2005). In 2005 she was Editor of Eduardo Kac, Move 36 (Filigranes Editions, Parigi 2005).
She was invited to be part of the Jury for the Award Netizens II (Galleria Sala 1, Rome 2004), and for the award Premio di Arte Digitale (DARC – Direzione generale per l’Arte e l’Architettura Contemporanee and Fondazione Rosselli, Rome 2005).
She was invited to give lectures an seminars at the University of Siena in the Scuola di Specializzazione in Archeologia e Storia dell’Arte (Siena, 2003-2004-2005), at the Polish Institute (Rome, 2006), at the International conference “Artech Media” (Madrid, 2007).
In 2006 she curated Food in Bytes within Time in Jazz Festival (Berchidda, Sardegna) and She Devils (Studio Stefania Miscetti, Roma).
Since 2005 she has been curating a section dedicated to net/web art at MAXXI – Museo Nazionale delle Arti del XXI Secolo in Rome. She regularly writes for the on-line edition of the Italian newspaper “L’Unità”.
self-portrait – a show for Peace
The RRF Project 2006 (interactive)
Home so near, Home so far – a meditation from Mapuche land (Streaming)
Family portrait (interactive)
A Virtual Memorial 2000-2005 (interactive)
Violence Online Festival 2002-2005 (interactive)
Videochannel 2005 (interactive)
The RRF Project 2005 (interactive)
Message from behind a Wall (streaming)
Family portrait (interactive) – version 3.0
The RRF Project 2004 (interactive)
Soundlab v1
(interactive)
A Virtual Memorial 2004 (interactive)
Iraq – the war and post-war period (interactive)
138 seconds of peace? (streaming)
Truth- Paradise found (streaming)
Inability of Being Nude (interactive)
Violence Online Festival 2002-2005 (interactive)
The RRF Project 2003-2007 (interactive)
dreamtime:: (interactive)
en [code] ed (interactive)
Violence Online Festival 2002-2005 (interactive)
“Violence” is a New Media art project in form of an online festival reflecting the phenomenon of “Violence”, curated, organized and created in Flash by Agricola de Cologne, curator and media artist operating from Cologne/Germany. As an ongoing project Violence Online Festival is developed for being presented in future in the framework of physical and virtual media festivals and exhibitions. For each event a new project version will be created adjusted to the actual needs including additions of new artists/works and other changes.
Preface:
Violence is an expression of speechlessness, of lack of communication. The best solution to eliminate violence and confrontation is looking for communicating, dialogue and networking, starting already in the smallest cel of society family, which lead in consequence to openness against the different, tolerance. A good example on the way to that represents the net based art project – http://www.a-virtual-memorial.org – Memorial project against the Forgetting and for Humanity.” (by Agricola de Cologne, published as Article20 in – Covenant of the Articles of Artistic Mediation on World Mediation Summit Washington 2002 )
Just positiv! – interactive
Mirror at the bottom (interactive)
Fields of Identity (interactive)
Italian Silence (interactive)
9.11. – The Triple Method (interactive)
Close Encounters (streaming)
Beyond all media (interactive)
TRUE LIES (streaming)
Urban.early sunday morning_raw (streaming)
]and_scape[ – interactive moving picture
My Pocket Camera (interactive)
Mother and Child Convention (interactive)
UP (interactive)
A Virtual Memorial 2000-2003 (interactive)
Hans a true story (interactive)
Never wake up (streaming)
Transience – an atonal composition (interactive)
Watch: Seconds: Forever (streaming)
Identity of Colour (streaming)
Compressed Affair (interactive)
Redirection 1944 (streaming)
Compressed Affair (interactive)
Redirection 1944 (streaming)
No individuality (streaming)
Karposi Park (streaming)
A Virtual Memorial 2000-2005 (interactive)
Agricola de Cologne
Le Musee di-visioniste 2000 – (interactive)
JavaMuseum 2000-2010 (interactive)
