<![CDATA[Art  Selectronic - EVENT]]>Fri, 04 Dec 2015 23:50:33 -0800Weebly<![CDATA[Beg, Borrow, Steal at Dilston Grove]]>Sat, 25 May 2013 22:58:30 GMThttp://artselectronic.weebly.com/event/dilston-grove-london
Tom Estes in Performance/ artist talk- Man With A Camera at Dilston Grove. In Estes’ work, audience members are asked to interact with the performance by taking pictures on what the artist calls a “communal camera”. The pictures are then posted on social networking sites for another, wider on-line audience.

On Saturday, April 27, 2013 a programme of live art at CGP London- A dynamic raw space for site-specific installation and performance at Dilston Grove, a Grade II Listed building  within Southwark Park, London’s oldest Metropolitan park.

Beg, Borrow, Steal presented “A host of artists from dark corners, glittery stages, white-walled galleries and gravelly gutters. For centuries, it has been widely recognised that many who create that anomaly known as “art” may well be looked upon as outsiders, deviants, depraved or mad …and vice versa.”

Beg, Borrow, Steal called upon “the spirits of famous artistic, professional (and only sometimes deceased) degenerates such as Genet, Bataille, Orridge, Artaud, Kahlo, Wilde, Emin, Camus, Darger, DeLarverie, Bacon and Duchamp (to name a few).” There was a reconsecration of this one-time church in a new guise, as a haven for those outside of the norm, for some impossibly ‘queer’ artists and their ‘odd-fellow’ associates.” Beginning gradually from the early afternoon, Dilston Grove was occupied by a handful of works to be surveyed and interfered with by visitors, who were encouraged to look upon this wholly unholy environment from their entirely unique perspectives. Later into the day and evening became a smorgasbord of shorter performance works building to a crescendo of celebration for the outside, the inside, the upside and the flipside.
Since the foundation of CGP by the Bermondsey Artists’ Group in 1984, community integration and inclusiveness has been central to the values. During this time, a fully evolved learning programme has developed, to encompass shifting demographics, the interests of local people and the changing ways that artists work with audiences. Cafe Gallery’s modern purpose- built space comprises of three interlinked ‘white room’ spaces and a patio garden. Dilston Grove is a Grade II Listed building providing a cavernous raw space for large scale installations and performance, a reception area and learning space. The Bermondsey Artists’ Group is a registered educational charity (No.1073851).

Beg, Borrow, Steal featured Natalie Adams, Giles Bunch, James Cawson, Lucy Doherty, Sarah Gavin, Ruby Glaskin, Richard Kightley, Kate Mahony, Adam Robertson, Nigel & Louise, Katy Baird, Tom Estes, Peter Georgallou, Robin Klassnik, Jordan Mckenzie, Niall O’Riain, Adam Papaphilippopoulos, Annabelle Stapleton-Crittenden


<![CDATA[Franz Rosati: Pathline #1]]>Fri, 15 Mar 2013 19:34:12 GMThttp://artselectronic.weebly.com/event/franz-rosatipathline-1
Franz Rosati, sound/visual artist from Rome, works on live A/V performance and installations, basically working on concrete sound sources and custom made software for sound processing and generative video.

Pathline #1 was created by  Rosati in collaboration with  musican Leila Bahlouri . This audio-visual work represents a virtual creature with its own behaviour, sound and form, used as a synthetic metaphor to depict a mutation from a natural organic landscape to an artificial urban landscape. The visual structure, composed by simple lines and dots reminds us a vegetative agglomeration such as the branch of the trees or moss agglomerate, and it morphs following those natural rules, in a constant balance between chaos and order, through three steps in which is the sound to give voice to the tension of the morphing structure. Spasms, contortions, vibrations and high speed rotations, generates distorted sound and out of control sounds of nature, suffocated by the noises of a breathing city, through crescendos and sudden comebacks to silence. Probabilistic distributions and chaos theory, become the necessary technological tool to portray a concept beneath the daily life but anyway existing as an unchanging rule out of time.


<![CDATA[SPAM at The London Art Fair]]>Sat, 02 Feb 2013 05:30:07 GMThttp://artselectronic.weebly.com/event/spam-at-the-london-art-fair
It is not easy for small not-for-profit spaces and non-commercial groupings to show in an art fair. Launched in 2005, Art Projects has established itself as one of the most exciting sections of London Art Fair attracting widespread critical acclaim and a distinct audience. Art Projects has now been a major part of London Art Fair for eight years and  is a destination for those looking to discover emerging talent. Established as one of the most exciting sections of the Fair, Art Projects features solo shows, curated group displays and large-scale installations with galleries from across the world.
Tom Estes in Live Art Performance SPAM
ALISN (the Artist Led Initiatives Support Network) have taken the radical approach of occupying a space shared by no fewer than seventeen of the three hundred cash-poor but imagination rich artist led organisations in the country. Called 'Sublet' this entry into the fair was organised by the Deptford gallery run by sculptor Iavor Lubomirov and painter Bella Easton. 

SPAM: Live Art Performance by Tom Estes

One example of the work on display was a Live Art Performance called SPAM by Tom Estes in which he the artist fell asleep while wearing the mask of a protocol droid. Taking place on the opening night of the fair, audience members were asked to interact with the performance by taking pictures on what the artist calls a "communal camera". The pictures are then posted on social networking sites for another, wider on-line audience. This is what Estes refers to as 'Harnessing The Hive' - as the view of the central performance is mediated and digitally recorded through machines.

Much of Estes work anticipates the on-line reduction of life to a single image. So the interaction of the audience, and their digital recording of the performance becomes more than mere documentation and can be seen as central to the work. The audience, rather than being some kind of privileged, passive witness becomes an active part of the performance and the creative process. This role reversal invites the audience to re-examine easy assumptions, received opinion and current social and critical trends as well as question the ways in which we see and understand our world and culture.

Estes' principle concern is how our view of life is increasingly mediated by machines and the digital as a shaping condition and structuring paradox. While machines enable us to do things they also do things to us and do things at us. We are being completely enveloped by abstract systems and inundated with information that we are struggling to come to terms with. The internet favours private, unconditional, sovereign freedom over scientific, conditional and institutional freedom. And yet at the same time cyberspace is becoming an increasingly efficient tool of surveillance with which people have a voluntary relationship. But whatever may be said about the internet one thing remains certain- as a primary means of global communication the internet is resulting in a massive social transformation.
SPAM: Live Art Performance by Tom Estes
<![CDATA[The Universal Accessibility of Dumb Things]]>Thu, 31 Jan 2013 03:38:22 GMThttp://artselectronic.weebly.com/event/the-universal-accessibility-of-dumb-things
"The universal addressability of dumb things" is a phrase referring to an emerging concept in computing that aims to create a living network of everyday objects: an Internet of Things. Once dumb things become contactable, they can begin to tell us what we don't yet know. And as we enter into correspondence with man-made artifacts, we are immersed in an animated world of innumerable and elastic dimensions, in which everything possesses not only the possibility of life but a complete set of emotions.

An exhibition entitled "The universal addressability of dumb things" , curated by Turner prize-winning artist Mark Leckey, will explore how our relationships with artworks and common objects alike are being transformed through new information technologies. It will present a kind of 'techno-animism', where the inanimate comes to life, returning us to 'an archaic state of being, to aboriginal landscapes of fabulous hybrid creatures, where images are endowed with divine powers, and even rocks and trees have names'

In his lecture, In the Long Tail (2008), Leckey describes the ways in which the 'entire vastness' of the internet caters for the desires of an infinitely long tail of consumers with minority interests.  As modern technology becomes ever more pervasive and sophisticated, objects begin to communicate with us: phones speak back, refrigerators suggest recipes, and websites seem to predict what we want.  While this takes us into the realms of science fiction, it also boomerangs us back into the past and a more animistic relationship to the things around us.

'The status of objects', Leckey argues, 'is changing, and we are once again in thrall to an enchanted world full of transformations and correspondences, a wonderful instability between things animate and inanimate, animal and human, mental and material'.  Our hyper-rationalism of modern technology has paradoxically produced its opposite, an 'irrational' magical realm - or as Marshall McLuhan, communication theorist, described "a resonating world akin to the old tribal echo chamber where magic will live again".

The Universal Addressability of Dumb Things is an attempt to see the virtual realm cross over into the physical world and familiar objects become enchanted: a high-tech car may be presented in the form of a clay effigy; perfume bottles battle each other in a 'fantastical' video.

This exhibition will include historical and contemporary works of art, videos, mechanical objects and archaeological artefacts loosely grouped into 'leaky typologies': Man/Bodies, including angels and monsters; Animals, including mummies, fossils and chimeras; Machines, with circuitry, scientific and medical devices and spare gadgets.

Tour:the Bluecoat, Liverpool

16 February - 14 April 2013

Nottingham Contemporary
27 April – 30 June 2013

De La Warr Pavilion, Bexhill on Sea
12 July - 20 October 2013

<![CDATA[FIREWALL by Aaron Sherwood + Mike Allison]]>Mon, 28 Jan 2013 18:42:13 GMThttp://artselectronic.weebly.com/event/firewall-by-aaron-sherwood-mike-allison
Developed by New York-based media artist Aaron Sherwood, 'firewall' stems from a performance piece being developed as 
purring tiger (with kiori kawai) titled 'mizalu', which will premiere in june 2013. During one scene in the performance dancers 
 press into the spandex with the audience facing the opposite side. 'mizalu' is about death and experience of reality, 
so this membrane represents a plane that you can experience but never get through. as hard as you try to understand what’s 
in between life and death, you can never fully know.

Made using processing, max/MSP, arduino and a kinect, the piece measures the average depth of the spandex from the frame 
it's mounted on. If the material is not being pressed against, nothing happens. when someone presses the panel, visuals react
around where the person applies pressure, and the music is triggered. an algorithm created with max allows the music to speed up and slow down and get louder and softer, based on the depth. This provides a very expressive musical playing experience, even for people who have never played music before. A switch is built into the frame which toggles between two modes with the second mode a little more aggressive than the first.


These are excerpts from Purring Tiger’s very first performance recorded in the GCC Sloan Theater on February 25, 2011 . Kiori’s movements are tracked via webcam and generate sound based on how and where she dances.  Sherwood improvises along with her movement generated music using found sound percussion, homemade shakuhachi flute, acoustic guitar, toy glockenspiel, Moog, and voice - all going through Pauline Oliveros' Expanded Instrument System. The images from the webcam were projected, manipulated, and mixed with other footage.All of the programming was done with Max.

<![CDATA[ Ed Atkins at MOMA PS1]]>Sun, 20 Jan 2013 17:30:04 GMThttp://artselectronic.weebly.com/event/ed-atkins-at-moma-ps1
Ed Atkins at MoMA PS1
January 20 — April 1, 2013

PS1 is hosting the first solo show in the United States of British artist Ed Atkins.  Akins works with filmic and text-based forms that are in technological transition. The artist considers HD technology deathlike because of its virtualized form and he deploys the bodiless movie formant to hightlight the conflicting intimacies that contemporary mechanisms of cultural production represent and allow us to achieve. Unlike traditional films with prioritize the image of the soundtrack, Atkins gives equal importance to what is seen and heard, playing visual conventions against  those of sound composition and editing. Sudden transitions mark his work, drawing out attention to the artifice of contemporary 'film' in its accelerating transition to new digital formants capable of remarkable kinds of simulation . 

Atkins semi-narrative video work “Warm, Warm, Warm Spring Mouths,” a single-channel work created this year, and “Us Dead Talk Love,” a two-channel installation accompanied by large collage drawings should be familiar to any active browser of the avant-garde internet. His human forms, most often a floating head that seems to be a self-portrait, are presented firmly within the uncanny valley: extremely high resolution, super detailed, but always somehow off. The texture of the skin isn’t quite real; the limbs and joints don’t fit together. It’s part of the dominant style of a certain generation of digital artists (Atkins is 30 years old) who take inspiration from the imperfect graphic engines of video games like The Sims and software like Maya.

The two pieces currently on display at MoMA PS1 are composed of high-definition, three-dimensional renderings of human figures and faces set onto flat compositions of color and digital collage. The texture of the skin isn’t quite real; the limbs and joints don’t fit together. It’s part of the dominant style of a certain generation of digital artists who take inspiration from the imperfect graphic engines of video games like The Sims and software like Maya.  It is difficult to pin meanings onto Atkins’ semi-narrative video works.  This is video art that you can’t blank out on; the mind constantly seeks the tail of the story and the turns of the plot.  It’s a constant hide-and-seek for the viewer that forces aggressive attention. This is video art that you can’t blank out on; the mind constantly seeks the tail of the story and the turns of the plot. Both piece are presided over by central narrators who speak in fragments of poetry — “Us Dead Talk Love” by Atkins’s avatar and “Warm, Warm, Warm Spring Mouths” by a series of anonymous figures sitting on chairs sunk in an underwater environment.

Organized by Peter Eleey, Curator, MoMA PS1, with Matthew Evans, Curatorial Assistant.

On January the 20th, in conjunction with the opening of his exhibition, Ed Atkins presents a performance piece called Depression, about death, bodies, and disintegrating matter. The Winter Open House event includes the opening of Cyprien Gaillard: The Crystal WorldMetahaven: Islands in the CloudJeff Elrod: Nobody Sees Like Us and CONFETTISYSTEM: 100 Arrangements exhibitions. The opening celebration includes a program hosted by Gaillard (Cyprien Gaillard presents Egyptian Lover and Salem DJ set) a cash bar, and delicious eats provided by M. Wells.

Ed Atkins
January 20 — April 1, 2013

22-25 Jackson Ave. at the intersection of 46th Ave.
Long Island City, New York

<![CDATA[Isao Hashimoto: The History of nuclear weapons ]]>Tue, 01 Jan 2013 17:58:43 GMThttp://artselectronic.weebly.com/event/isao-hashimoto
In the first decades of the 20th century, physics  was revolutionised with developments in the understanding of the nature of atoms. Starting with scientific breakthroughs of the the 1930s, the Americans put togther an international team was dispatched to help work  to counter the assumed Nazi development of Nuclear weapons. In August 1945 two bombs with enormous destructive potential were dropped on Japan. The U.S.S.R started development shortly thereafter with their own and not long after that both countries developed even more powerful fusion weapons called "hydrogen bombs." There have been (at least) four major false alarms, the most recent in 1995, that resulted in the activation of either the US's or Russia's nuclear attack early warning protocols. The notion of using a fission weapon to ignite a process of fusion can be dated back to 1942. At the first major theoretical conference on the development of an atomic bomb directed the majority of the discussion towards the  idea of a "Super" bomb that would use the same reactions that powered the Sun itself.

Japanese artist Isao Hashimoto has created a compelling insight into the history of humanity's greatest destructive force. His series of video works began in 2003, with the aim of showing, in his own words, "the fear and folly of nuclear weapons". Hashimoto's undeniably scary time-lapse map of the 2053 nuclear explosions which have taken place between 1945 and 1998, begins with the Manhattan Project’s “Trinity” test near Los Alamos and concluding with Pakistan’s nuclear tests in May of 1998. As the timescale on the animation only reaches 1998, it doesn't include North Korea's two nuclear tests in October 2006 and May 2009 (the legitimacy of both is not 100% clear).

Born in the Kumamoto prefecture, Japan in 1959, Hashimoto worked in the financial industry for 17 years before studying in Tokyo in the department of Arts, Policy and Management, and then getting a job as a curator at the Lalique museum in Hakone, Japan.Hashimoto says: " I created this work for the means of an interface to the people who are yet to know of the extremely grave, but present problem of the world."

One is titled "1945-1998" and shows a history of the world's nuclear explosions. Over the course of fourteen and a half minutes, every single one of the 2053 nuclear tests and explosions that took place between 1945 and 1998 are is plotted on a map. A metronomic beep every second represents months passing, and a different tone indicates explosions from different countries. It starts out slowly, with the Manhattan Project's single test in the US and the two terrible bombs dropped on Hiroshima and Nagasaki that ended World War II. After a couple of minutes or so, however, once the USSR and Britain entered the nuclear club, the tests really start to build up, reaching a peak of nearly 140 in 1962, and remaining well over 40 each year until the mid-80s. Only two nuclear explosions have ever been detonated offensively, both in 1945. Since then, despite more than 2,000 other tests and billions of dollars having been spent on their development, no nuclear warheads have been used in anger. 

<![CDATA[Crash Test Dummy]]>Sat, 29 Dec 2012 11:48:12 GMThttp://artselectronic.weebly.com/event/crash-test-dummy
Tom Estes
Crash Test Dummy

Health & Safety Violation: A collaboration between
Ben Woodeson and Tom Estes

Health & Safety Violation is a project initiated at Lubomirov-Easton which brought together performance artist Tom Estes and sculptor Ben Woodeson in an experimental collaboration; neither knowing exactly what wouldl happen. The Health & Safety Violation collaboration was an evolving experiment documented by visitors to the exhibition; ephemeral performance art interacting with fragile sculpture, a world where every action has consequences both known and unknown.

In his practice Artist Tom Estes creates socially engaged performance work that is both participatory and immersive while at the same time a playful messing with habitual ways of thinking. Estes is interested in the relationship between machines and humans.  In his Live Art performance Estes stages an ‘action’ and then ask members of the audience to take pictures on a ‘communal camera’. In this way, the audience becomes part of the performance, and the pictures are then posted on on-line social networking sites and web sites for another, wider on-line audience.

At Health & Safety Violation, Estes performed his seemingly inconsequential action within the deliberately dangerous and fragile environment of Ben Woodeson’s sculpture in which ‘every action has an equal an opposite reaction’. Documentation of the evenings actions was performed by visitors to the exhibition using a communal camera; and on this occasion selected images were also displayed in the gallery space for the duration of the exhibition.

At the core of Estes’ work is an attention to digital platforms and new forms of interconnectivity. Estes’ performance- a form of intellectual mischief-making- is designed to question the relationship between life in real time and of reality as it is increasingly experienced online. We are being completely enveloped by abstract systems and inundated with information that we are struggling to come to terms with. And while machines enable us to do things they also do things to us and do things at us. Estes’ practice seems to  capture the strategic orientation and inescapable reflectiveness of cyberspace.  Whatever may be said about the internet one thing remains certain- as a primary means of global communication the internet is resulting in a massive social transformation. In  liberation-speak the internet favors private, unconditional, sovereign freedom over scientific, conditional and institutional freedom. Yet Estes’ performance work emits an aura of agitation that undermines the authority of this rhetoric. The truth is that cyberspace is an increasingly efficient tool of surveillance with which people have a voluntary relationship.

Formally, Estes’ action invites a dialogue between stasis and dynamism, and psychologically, between reason and feeling. His perceptually oriented thought-puzzles are infused with humour, but the real difference and impact of Estes performance work, is as a potentially critical gesture. Estes’ performance Crash Test Dummy offers a parallel and contextual reading of the fundamental ideological fantasies that sustain our late capitalist society. Woodeson’s work is inspired by mass, friction, balance, gravity, momentum, potential and kinetic energy; basic rules that deliberately straddle a line between stability and instability, action and inaction. Estes’ performance takes Woodeson’s work one step further by contributing a real human interaction into a implied symbiotic relationship of balanced equilibrium which has potentially catastrophic consequences. Poised treacherously, the work inhabits a moment of possible action and subsequent reaction.  So while this absurd yet playful performance toys in surprising ways with visual spectacle it is also nuanced enough to simultaneously traverse the Commodity Fetishism and popular Obscurantism of mainstream consumerist society.

Artist Tom Estes grew up on a small farm outside of Boston in the U.S.A. He moved to Paris and lived there for a couple of years before settling in London as a base of operations. His work has been shown nationally and internationally and he has regularly worked with collectives from the United Kingdom such as The Red Velvet Curtain Cult and Art Evict as well as The Biennial Project from Boston in the U.S.A.


Watch this performance online at:

<![CDATA[Ryoji Ikeda: data.anatomy]]>Wed, 19 Dec 2012 14:39:07 GMThttp://artselectronic.weebly.com/event/ryoji-ikeda-dataanatomy

data.anatomy [civic] is a audiovisual installation created by acclaimed Japanese artist Ryoji Ikeda in collaboration with Mitsuru Kariya, the development leader of the new Honda Civic. The work is exhibited as a 3-screen video projection derived from the entire data set of the car.  Ikeda has taken the hidden or  secret  raw production data of automotive production to  display the inner workings and outer surface of a car. The images were compressed and animated into a series of scans which were then most impressively sited in the vast and uncompromising space of a former power station in Berlin. 

data.anatomy and its use of raw data has strong echoes of early pictographs. Pictographs evolved in two ways: First, they were the beginning of pictorial art--the objects and events of the world were recorded with increasing fidelity and exactitude as the centuries passed; second, they evolved into writing. The images, whether the original pictorial form was retained or not, ultimately became symbols for spoken-language sounds. Throughout their long evolution as a means of communicating, images have developed their own rhetoric--techniques of composition, style, and content--which increase their ability to move us, or to convey information. In this instance, the subject matter of data.anatomy is strong echoes of a car advert and key components of the car design seem to be highlighted in red.  It might be argued that there is nothing new about the juxtaposition of text and image: from Medieval illuminated manuscripts to propaganda posters and glossy magazine ads, our culture has developed the combination of text and image to a high art. In many ways, the juxtaposition of text and image signifies a persuasive visual argument: we expect to be prompted towards a belief, a fear, or a desire satisfied.

In order to develop 'data.anatomy [civic]', Ryoji Ikeda spent one year poring over the information pertaining to the development of the car. He was given the computer aided design (CAD) data, which detailed every component of the vehicle. It was through this compilation of data that ikeda and his team were able to craft a visual exploration of the inner workings of honda's engineering philosophy in action. Ikeda, assisted by a team of five technicians, analyzed the information supplied by honda in order to develop 'data.anatomy [civic]' in both his paris and tokyo studios. the artist's comprehension of the expansive data set allowed him and the researchers to create an abstracted automobile, understood as not the blueprints for an object, but an experiential installation. 

But the piece data.anatomy raises serious questions about the role of art and the relationship of fine art to that of art and design often utilised by corporate concerns. The use of images pre-dates all forms of writing, and the power of images to convey information has been used by most cultures on their path towards greater complexity and sophistication. Consider the power these images have to affect your emotions and colour your thoughts. Now, imagine that artists, advertisers, propagandists, or politicians--all technicians of the power of images and words--work overtime to communicate with your deepest emotions through powerful images. They appropriate images, icons, archetypes, and cultural codes to move us, sometimes consciously, sometimes from the unconscious. Combining text with these images shifts the technique of persuasion because text engages our analytical reasoning in ways that images can by-pass. Knowing something about the distinctive and overlapping rhetorics of images and text--and paying attention to how these rhetorics have been composed--will help us avoid being motivated unconsciously against our best interests.

For example data.anatomy is exhibited as a 3-screen video projection and completely immerses the viewer in an intricate yet vast audiovisual composition derived from the entire data set of the car. Ryoji Ikeda states: "As a composer and artist, I compose music, visuals, materials, physical phenomena and abstract concepts. For this project, the invisible multi-substance of data is the subject of my composition'" In the installation Apple computers channel information into three projectiondesign F32 projectors with a brightness of up to 8000 lumens and outfitted with WUXGA resolution contrast ratio of 7500:1 in order to portray the meticulous detail of each piece of the civic's reinterpreted construction information. The sheer scale of both the space and also the project has the effect of shrinking your presence, not least because the projections of the inner workings of the car are so greatly scaled up. This is all done with a strong emphasis on aesthetics and utilizes highly persuasive techniques through the creation of a transcendental moment where the audience float through three renderings of the inner workings of a car. At moments the spectator is able to tell where they are being led, at other moments your only awareness is one of expansive space.  There is a strong resemblance to a car showroom aesthetic or glossy product launch. 

So  the work data.anatomy might be understood as an example of commodity fetishism as Art. In Propaganda: The Formation of Men's Attitudes, Jacques Ellul argues that propaganda and the technological society are interdependent. Whatever the variety of propaganda, it is always associated with effectiveness: "Ineffective propaganda is no propaganda". As an instrument of indoctrination arising from the "will to action," propaganda is a technique of social influence that treats society as a machine that can be tuned up, re-engineered, or re-programmed. Ellul argues that the technological imperative--the reliance on technology to provide solutions and progress--corresponds to the rapid growth of propaganda in the 20th C." Not only is propaganda itself a technique, it is also an indespensible condition for the development of technical progress and the establishment of a technological civilization. And, as with all techniques, propaganda is subject to the law of efficiency". Modern propaganda is intimately linked with the rise of mass culture and mass culture is formed through the actions of mass media, capable of broadcasting messages quickly and effectively and thus influencing opinion and attitude across a nation, or even across national borders to a global audience. Mass-production of images and messages by industrial techniques  forges the mass audience. Without mass media, the scope of propaganda is limited; without propaganda, the technological imperative is less effective.

data.anatomy [civic]  took place on 19 April – 1st May / Kraftwerk, Berlin. 

<![CDATA[INVADER]]>Fri, 07 Dec 2012 13:00:21 GMThttp://artselectronic.weebly.com/event/invader
Invader (born 1969) is a French urban artist who pastes up characters from and inspired by the 1978 arcade game Space Invaders game, made up of small coloured square mosaic tiles that form a space invader character mural. He does this in cities across the world, then documents this as an "Invasion", with books and maps of where to find each invaderInvader installed his first mosaic in the mid 1990s in Paris. According to the artist, it was a scout, or sentinel, because it remained the only one for several years. The programme of installations began in earnest in 1998.

The locations for the mosaics are not random, but are chosen according to diverse criteria, which may be aesthetic, strategic or conceptual. Invader favours locations that are frequented by many people, but also likes some more hidden locations. In Montpellier, the locations of mosaics were chosen so that, when placed on a map, they form an image of a giant space invader character.

The mosaics depict characters from Space Invaders and other video games from the early 1980s. The images in these games were made with fairly low-resolution graphics, and are therefore suitable for reproduction as mosaics, with tiles representing the pixels. The tiles are difficult to damage and weather-resistant.

The mosaics are half built in advance. When Invader arrives in a city he obtains a map and spends at least a week to install them. They are catalogued, pictured and Invader uses a map indicating their locations within the city. Typically, mosaics are located 10 to fifteen feet above the ground, and often on street corners in areas of high visibility. 

Invader is responsible for perhaps the most recognizable street art stunt of the last decade. In a planet-wide war of attrition, the pixilated expansionist aliens from Space Invaders stalked the Earth once more, appearing everywhere from on the 'Hollywood' letters to Jacques Chirac's lapel.

Invader started this project in 1998 with the invasion of Paris – the city where he lives and the most invaded city to date – and then spread the invasion to 31 other cities in France (such as MontpellierMarseilleAvignonRennesBordeauxLilleChartres, or Bastia…).LondonCologneGenevaNewcastleRomeBerlinLausanneBarcelonaBonnLjubljanaViennaGrazAmsterdamBilbao,ManchesterDarlingtonIstanbul are among the 22 other European cities which have been invaded. Throughout the world, São PauloLos AngelesNew York CityMiamiSan DiegoTorontoBangkokTokyoKatmanduVaranasiMelbournePerth and even Mombasa are now invaded with his colourful characters in mosaic tiles.