HACS presents its third installment of the NEW MEDIA FESTIVAL.
This particular festival will host curators who have been invited with the intent to open the exhibit to a vast scene of cultures and views.
New media art is an art genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation, Internet art, interactive art technologies, computer robotics, and art as biotechnology. The term differentiates itself by its resulting cultural objects, which can be seen in opposition to those deriving from old media arts (i.e. traditional painting, sculpture, etc.) This concern with medium is a key feature of much contemporary art and indeed many art schools now offer a major in "New Genres" or "New Media."
http://en.wikipedia.org/wiki/New_media_art
New Media concerns are often derived from the telecommunications, mass media and digital modes of delivery the artworks involve, with practices ranging from conceptual to virtual art, performance to installation.
As in the past, artists from all over the world will tackle contemporary and post-contemporary issues by means of video, film and video installation.
One of our invited curators will be MTV’s Mario Cader-Frech who will be displaying an array of artists from Central America; Parisian, Jeannette Mariani will be bringing us TOC TOC, 3KO and a Curator’s Choice of Chris Croker; Andreina Fuentes and Marcela Römer are curating a group of local and international artists: among others, Grimanesa Amoros, Amparo Sard, Liliana Porter,Andreotra, Richard Garet, Gladys Triana, Lujan Castellani, Benito Laren, Aisen Chacin, Carlos Trilnick, Mauro Guzman, among others. Rochi Llaneza is curating local Miami artist: JLo, Maria Lino, Jonathan Roford, Elena Tejada-Herera; the festival is also presenting IRREVERSIBLE magazine, as a collaborating publisher and publication/installation with the collaboration of graffiti artist, Julie Lopez (JLo).
Curator Mario Cader, el Salvador
Curator Jeanette Mariani, France
Curator Andreina Fuentes
Artist J.Lo Installation for Irreversible Magazine
Curator Rochi LLaneza
Curator Nicolas Aves, UK
Road Dreams
Just before midnight sometime in 1991 I stumbled upon a secret, hidden and obscure programme on Britain’s TV Channel 4. From the very outset I knew I was watching something very special; a rarity and a poignant mixture of visual poetry overlaid with an equally recondite musical and literary accompaniment. It struck me as entirely of its age and era, an artefact to be experienced, savoured and bidden a loving farewell. Elliot Bristow’s six part “Road Dreams” had the feel of a creation both trapped in its own beautiful moment and simultaneously questioning the very sequential way that we apprehend quotidian “man measured time”. English visionary writer, Richard Jeffries words hung in my head. Carved in a lonely inscribed stone on the Marlborough Downs in Wiltshire is the simple statement, “It is eternity now”. Bristow’s homage to the USA from 1968 to 1980 like Jeffries prose has the same winsome air about it. Part joyous, part melancholic for that deeply held truth we all know whether or not we care to acknowledge it. All experience is a transitory and temporary pleasure. The past is gone, forever lost to us and the future is as yet unborn. We can only ever live in the perfect present tense. Paradoxically this is a thing that few manage to truly apprehend and savour in its most profound and intoxicating sense. Elliot Bristow’s charming and to contemporary eyes archaic episodic style captures these fleeting and transient moments in time perfectly. Much of the heavily edited tape has an almost Zen like feel about it. It stands in pristine isolation, each moment an island; there is about it a deeply touching sense of a lost world. Here, concretely present and beside us for a moment and then gone and lost forever is his record of travelling about an extraordinary country at an equally unique moment in history. We are deeply indebted to its author for suspending our disbelief for just the moment in which we encounter his fragmented images. He tells, this is how it was; this is what he saw, this is what is was like and could never be again.
Nick Aves, September 2008