Penesta Dika (Vienna)
Martina Moon Zelenika (Berlin)
Jakub Nepraš (Praga)
IOANA VREME MOSER (Berlin)
DORIN CUCICOV & BOGDAN ȘTEFĂNESCU (București)
Sound to Shape / Shape to Sound
Bringing sound into the context of visual art means translating images and forms into temporal units which can be performed as audible images / forms (Shape to Sound), as we have already seen (and heard) in the historical avant-garde. Also, enabled by digital applications, the time units of a sound performance can be stabilized in spatial coordinates (Sound to Shape), which acquires that malleability of materials specific to drawing (drawing with sound), painting (painting with sound), sculpture (sculpting with sound).
The project will include 11 Sound Rooms that will integrate the artistic activity developed by the 11 artists (visuals, musicians, programmers) invited to the online residencies between June 2 and August 28, 2020 (11 weeks) within the Tehnoarte platform. The video-audio performances will be broadcast live on streaming channels (website, youtube and facebook, etc.), keeping a rhythmicity of 1 performance / week and a relative duration of 30 minutes. Sound Rooms will also include relevant information, interviews, digital applications, performance kits, etc. to create an overview of the artworks and their framing in an (inter)national context. Also, in the dedicated week, each artist will benefit from online advertising on social networks and press (Aura Bălănescu, April 2020).
Tehnoarte proposes a revival of artistic production in Timisoara (1) through the creative use of technology and art (2) resulting from an interdisciplinary collaboration (3) between visual artists and specialists in collateral fields (musicians, programmers), to create performative and collaborative multimedia contents that lead to the activation of the public (4) and to the insertion of artistic processuality (artist, opera, public, context) in the national and international networks of contemporary art (5).
1 / The revival of Timișoara's artistic production takes place by creating a viable cultural offer in the current crisis, which aims to overcome the limits of classical visual language in order to create multimedia content that can be versatile disseminated in the global telecommunications network.
2 / The creative use of technology consists in the implementation of hardware / software services within the online platform Tehnoarte, but also in artists' studios so that they stay connected regardless of social or financial blockages, manifesting their creativity by sharing their technological skills.
3 / Interdisciplinary and (inter) national collaboration between visual artists, musicians and programmers is essential because they can share their specific expertise in order to develop performative and collaborative strategies typical of digital multimedia and online streaming. The transfer is made from the dissemination in images of the work of visual art to multimedia that combines image, sound, kinaesthesia and direct addressability to the public.
4 / Activation of the public. The performative and collaborative contents are offered to the public through the telecommunication network, being accessible at educational level by presenting aspects of local, national and international art. Moreover, the interactive-immersive dimension of digital applications provided by artists, encourage the public to actively intervene.
5 / Identifying and inserting artistic processuality (artist, opera, audience, context) within contemporary art networks presuppose that the Technoarte platform becomes a hub or rather a telematic superhighway that polarizes artists and users through the telepresence process to intervene in the cultural contents, no matter where they are located (Aura Bălănescu, April 2020)