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LE FUTUR D'INTERNET ET DE L' ART NUMERIQUE
Le Techno-Mariage de Fred Forest et de Sophie Lavaud unis sur la
Toile du Net par André SANTINI Maire de Issy-les-Moulineaux en 1999 !
LE FUTUR D'INTERNET ET
DE L'ART NUMERIQUE
Vinton Cerf et Fred Forest au Forum ATENA sur le "Futur de l'Internet" à la Grande Arche de Paris, le jeudi 21 janvier 2010
http://www.youtube.com/watch?v=8cqG_ilHkcI
1999, il y a douze ans déjà ! Toujours Vinton Cerf, Sophie Lavaud et Fred Forest pour le Technomariage ... Le Technomariage, déjà, et toujours ... une oeuvre du Futur !
http://www.youtube.com/watch?v=_TTlwXW_qQ0
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Art and Society: The Work of Fred Forest
Listen to a 62 minute recording, or download the
file |
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Slought Foundation, a non-profit organization rethinking contemporary
art, is pleased to announce "Art and Society: The Work of Fred Forest,"
a retrospective exhibition about new media artist and pioneer Fred
Forest, on display in the galleries from February 3, 2007-March 23,
2007. The opening reception will take place on Saturday, February
3rd, 2007 from 6:30-8:30pm. This exhibition has been curated by Osvaldo
Romberg with the generous support of l'Institut National de
l'Audiovisuel, the Cultural Services of the French Embassy in the United
States, and the School of Arts and Sciences and the Department of
English at the University of Pennsylvania.
Please note that a special seminar and conversation with artist Fred
Forest concerning his practice will take place immediately before the
opening from 5:30-6:30pm, and has been organized by Aaron Levy. The
event will be jointly moderated by Michael Leruth and Jean-Michel
Rabaté. An audio recording of this event is now available online. Click
here to download the accompanying visual presentation.
It is also our pleasure to also announce a lecture by Fred Forest on
January 30, 2007 at 7 pm at La
Maison Française at New York University (16 Washington Mews, New
York, NY 10003). For more information, contact maison.francaise@nyu.edu
(212-998-8750).
Fred Forest, “For an aesthetics of communication” (Plus Minus
Zero, 1985):
"I have always considered that the natural field of artistic production
is the terrain of social activity. A field which may be enlarged and
explored thanks to the new Communication technologies. This option
upsets the holders of a fixed concept of aesthetics, who are incapable
of grasping the obvious articulation between this type of practice, the
concept of art, and a society in transformation. We are called upon to
ask the question “Where are the frontiers of art situated?” It’s a
brave man who will stick his neck out! There is no frontier. Art is an
attitude—a way of relating to something, rather than a thing in itself.
There is an aesthetics of behavior, an aesthetics of gesture, just as
there is an aesthetics of object. We have now to take a new category
into account: the aesthetics of Communication. The media of this
aesthetics are often immaterial: its substance comes from the impalpable
stuff of information technology. In the sky above our heads, the
electrical signals of this information trace invisible, blazing and
magical configurations."
Image captions: Fred Forest, "La photo du téléspectateur," 1976; "Homage
to Mondrian," Installation Plan, 1989; Detail from "La Bible
Èlectronique," Center for Art and Technology, Reims, 1991; "Homage to
Yves Klein," Museo del Sannio, Benevento, 1984.
Visit:
http://www.webnetmuseum.org
Visit:
http://www.fredforest.org
Visit:
http://viande.fredforest.net
Read
the full curatorial essay
Fred Forest is a communication artist and theorist (born in
Algeria in 1933) who has worked at the forefront of interactive art and
new media, sociology, and institutional critique for over forty years.
His work, frequently immaterial and relational, raises questions about
the nature and function of art in a market-driven age of information.
Forest has exhibited and presented at institutions including the Museum
of Modern Art, New York; the Centre Georges Pompidou, Espace Pierre
Cardin, and the Museum of Modern Art of the City of Paris; the Venice
Biennial; Documenta 6 and 8 in Kassel, Germany; the Foundation Miro,
Barcelona; and the C.A.Y.C./Center for Art and Communication, Argentina.
Fred Forest recently created the “Digital Street Corner” at the
invitation of Art Basel Miami Beach 2005, in conjunction with the
Cartier Foundation for Contemporary Art, Paris, and the Bass Museum of
Art, Miami. This interactive network, artistic environment and “virtual
happening” was co-created in real time by people on the internet, which
Forest in turn choreographed and projected on an outdoor screen on the
exterior wall of the Bass Museum (http://www.fredforest.com/). Also in 2005, Forest was
commissioned by the National Audiovisual Institute (INA) of France to
create “Memory Pictures,” a website and installation, for the Great Hall
in the French Ministry of Culture. In this work, the artist, digital
avatars, and anonymous participants create collaborate collage works of
art (
http://fredforest.ina.fr/). In 2006, Forest launched “The Biennale
of the Year 3000,” a participatory new media intervention staged against
the “official” São Paulo Biennale that took the form of an exhibition
without curatorial selection (http://www.biennale3000saopaulo.org/).
As early as 1967, Forest organized a series of participatory and
community-based art activities which laid the foundations for the
“Sociological Art” movement to follow. By 1969, Forest was known as the
first French “plastic” artist to make extensive use of video art and
carry out one of the first installations of this type at the
Sainte-Croix Gallery in Tours, France. In 1972, continuing his
research into this medium, he purchased media space in the French
national newspaper “Le Monde,” and launched a series of “press
experiments” which extended from journalism to television and radio both
in France and abroad. In 1973 his work in mass-communications won him
the Communications prize at the XIIth Biennale in Sao-Paulo, Brazil, and
in 1974 he co-founded the “Sociological Art Collective” whose
activities were eventually featured in the 1976 Venice Biennale. Forest
also participated in Documenta 6 in 1977, and exhibited a field
frequency of 14,000 hertz in the Fredericanum in Kassel, Germany in
Documenta 8 in 1987. Following the dissolution of his sociological
collective, Forest staged various art actions and exhibitions,
frequently involving the late Pierre Restany, such as The Artistic
Square Metre, The Stock-Exchange of the Imaginary, at the George
Pompidou Centre, and The Communicative Space at the Museum of
Modern Art of the City of Paris. In 1982 Forest formulated the term
“Communication Aesthetics,” and in 1983 Fred Forest co-founded the International
Group for Research into Communication Aesthetics, to explore new
directions for art centered on problems of communication, new models of
anthropological behavior, and our evolving relationship with a world
conditioned by technological developments.
This program was made possible in part through the generous
sponsorship of l'Institut National de l'Audiovisuel, the Cultural
Services of the French Embassy in the United States, and the School of
Arts and Sciences and the Department of English at the University of
Pennsylvania
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