Bienale of Electronic Arts Perth/Australia – 7 Sept – 17 November 2004

BAEP 2004: Beap curator Jeremy Blank (right) & Agricola de Cologne (center)

Installation concept for BEAP 2004 @ Central Taffe Gallery

BEAP 2004 catalogue as PDF

[R][R][F] 2004 @ National Museum of Contemporary Art / Kalinderu MediaLab Bucharest – opening 5 March 2004


[R][R][F] 2004
This represents the starting point for the development of a global networking project which will be operating until the end of 2004. Numerous places around the globe will be participating and presenting [R][R][F] 2004 simultaneously during the year: The first ones which joint the project were Kalinderu MediaLab/Museum of Contemporary Art Bucuresti (Romania), Istanbul Museum (Turkey),
Bethlehem International Center (Bethlehem Palestine), Basics Festival (Salzburg/Austria), Bergen Center of Electronic Arts Bergen/Norway(Norway), PEAM – Pescara Electronic Art Meeting 2004 (Italy), invited are also Hong Kong, New York, Stockholm, Haifa, Madrid, Sevilla, Cologne, Athens, Alexandria and many other places.

From its structures, [R][R][F] 2004 is an extraordinary experimental New Media art project programmed and realised by Agricola de Cologne.

Its central subject, abbreviated in the capital letters of the title, is “Remembering, Repressing, Forgetting”. A new way of art working is practised: networking as artworking. Experimental fields of memory are developed by inviting curators from different countries around the globe, eg directors of media festivals or curators specialised in New Media, who have to select a number of artists of their choice according the terms of the project. The dynamic of this ongoing and continuously changing project, as it is set up for being presented in festivals and media exhibitions, manifests itself not only in the artistic online environment, especially created for [R] – [R] – [F] 2004, but also progressing when for each new presentation a new project version is created, including new subject related aspects, new curators and new artists and new visualisations of the connected memory fields.
Continuously expanding, these memory fields containing curators and artists of the previous project versions will be always present in the background while slowly a networking universe of collective memory comes up. The project uses the Internet not only as an artistic environment, but primarily also as a communicating medium and a data base which is closely connected to memory and loss of memory, thus the subject of the festival project. The Internet represents not only the ideal medium in many ways, but allows above that direct intercultural networking like no other medium.

[R][R][F] 2004
is organised completely online. It includes a variety of online and offline components, an exchange between virtual and physical levels. The basic subject is “Memory and Identity”, the basic operating aspect is “networking as artworking”. Although anything connected to the project is transmitted online, the basic installation aspect is the exchange/combination of virtual and physical space in a physical installation.

These are the components of [R][R][F] 2004
1. [R][R][F] Presentations:
National Museum of Contemporary Art / Kalinderu MediaLab Bucharest – opening 5 March 2004
Bergen Electronic Arts Centre Bergen / Norway http://www.bek.no/ – opening 5 March 2004
New Media Art Festival Bangkok / Thailand http://thailand.culturebase.org/ – 20 – 28 March 2004
Version<'04 Festival - Museum of Contemporary Art Chicago 16 April -1 May 2004 Biennale of Electronic Arts Perth/Australia / Central Taffe Perth - 7 Sept - 17 Nov 2004 The curatorial project RRF v. 2.0 is the basis of RRF 2004 / participating curators and artists: [R][R][F] 2004 ' XP /5 March-30 April/ Kalinderu MediaLab [Remembering-Repressing-Forgetting] experimental global networking project by Agricola de Cologne www.newmediafest.org/rrf2004 -->1st week feature<--- . [R][R][F] 2004 --->XP
consists of several “Memory Channels”
including subject related modules in form of media projects.
The basis of [R][R][F] 2004 —>XP
forms [R][R][F] Version 2.0 as “Memory Channel 1”
including contributions from invited curators.
These curators selected following artists:
curator: Gita Hashemi (Iran/Canada)
curatorial theme: “RealPlay”
selected artists:
Jaromil, Mireille Astore, Haleh Niazmand
Hardpressed Collective, Threadbare Coalition
curator: curator: Raul Ferrera-Balanquet (Cuba/USA)
curatorial theme: “In[ter]vención”
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2. Memory Channels
[R][R][F] and each other included basic component, eg XP (experimental) versions of Violence, Rainforest Memorial, Globalization, AIDS Memorial, News Channel, Streaming Channel, Video Channel and others, but not more than 16 channels in total, will form the “Memory Channels”, which are screened in physical space on “MemoryScreens” and “MemoryProjections” and form the basis of the physical
installation of [R][R][F] 2004.
Globalization modul curated by Humberto Ramirez
Critical Art Ensemble http://www.critical-art.net/, subRosa http://www.cyberfeminism.net/, Violence Online Festival
http://www.newmediafest.org/violence/, “Stop Motion Studies” http://www.stopmotionstudies.net/, RTMark http://rtmark.com/,%
20denniscucumberhttp://www.denniscucumber.com/, “Over My Dead Body” http://www.overmydeadbody.org/accueil.php

3. Networks
The networking project does not include only these mentioned virtual and physical components from different sources of [NewMediaArtProjectWork]:cologne, strategic points (places, institutions, individuals) will be installed, which are connected in the network also during the year 2004. Each of these strategic points will form a local network consisting of local institutions, artists,
organisations dealing with New Media and art, “memory and identity” and/or humanitarian matter in social, cultural or political concern. Each strategic point/local network will present [R][R][F] 2004 in physical space simultaneously with other strategic points of the global selected artists:

Giselle Beiguelman (Brazil), Ricardo Baez (Venezuela), Santiago Perez Alfaro (Mexico), Eduardo Nava (El Salvador/USA), Juan Devis and OnRamp Arts (Colombia/USA), Alex Riviera (Peru/USA)
curator as interface: Calin Man (Romania)
curator as curator: Stefan Tiron (Romania)
curatorial subject: Romanian Young Guns
selected artists: all Romanian
Sergiu Negulici, Milos Jovanovic, Catalin Rulea
Daniel Gontz, Valentin Chincisan
curator: Bjoern Norberg (Sweden)
curatorial subject: “Inflict”
artists: all Swedish
” Beeoff” –> Olle Huge, Tomas Linell, Mikael Scherdin
curator: Eva Sjuve (Norway)
curatorial title: BEK_dns
selected artists:
Gijs Gieskes, Antti Sakari Saario, ARM with John Hegre
Fruit, Cosmic Jinxm, Christian Bøen
Thorsen, Lossius, Bastiansen
selected artists:
Torgeir Nes, Tom Moland, Stefan Mitterer, Terje Urnes, Peki Sinikoski, Rune Storetved, Marieke Verbiesen, Gijs Geiskes.
curator: Agricola de Cologne (Germany)
curatorial theme: {nodes of identity}
selected artists:
Conor McGarrigle (Ireland), Maite Camacho (Spain), Erkki Kirjalainen (/Santtu Rantanen) (Finland), David Clark (Canada), Melinda Rackham (Australia), Nathaniel Stern (South Africa), Oliver Dyens (Canada), Shilpa Gupta (India), Michael Sellam (France)/Garrett Lynch (Ireland), JODY ZELLEN (USA)
Melody Parker Carter (Germany)
curatorial theme: : >preconstructed transformations
selected artists:
Werner Cee (Germany), Sachiko Hayashi (Sweden), Liz Miller (USA), Lisa Gye (Australia), Mustafa Maluka (South Africa), Avi Rosen (Israel), Irena Paskali (Macedonia), GAST BOUSCHET/Nadine Hilbert
(Belgium), Stephane Barron (France), Lisa Cianci (Australia)
Special Feature:
title “Women :Memory of Repression in Argentina”
curatorial environment by Raquel Partnoy (USA/Argentina) and Agricola de Cologne (Germany)
including testimonials of “Mothers of Plaza de Mayo” Bueno Aires/Argentina
and net based art works of following Argentine artists—>
Marina Zerbarini , Andamio Contiguo, Irene Coremberg, Anahi Caceres,

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network, as well as it will optional complement this presentation through works of local artists connected to “memory and identity”, and a
program of Internet related actions of different kind, via “online streaming” in real time or temporarily displaced. Further are optional,
workshops or other events to be organised in this framework.
The audience, the project is addressed to is not only reduced to online users, but includes the visitors of the physical installation as well,
who all cannot only participate what is going on in the global network (program), but it is intended to include also some direct involvement
of the visitor.
Please find additional info about Version 1.0 of [R][R][F] festival on : www.newmediafest.org/rrf/

1. Gita Hashemi curates “RealPlay”
is the title of Gita Hashemi’s curatorial contribution to [R][R][F] 2004 —>XP www.newmediafest.org/rrf2004/
or direct access also via www.newmediafest.org/rrf2004/rrfv2.htm
Participating artists:
1. Jaromil
2. Hard Pressed Collective
3. Mireille Astore
4. Project Threadbare Coalition
5. Haleh Niazmand
Essay by Gita Hashemi. RealPlay has little to do with play, really. It is about playing for real. Topically positioned in specific times and/or places, the works in RealPlay contest, counter and/or subvert dominant geopolitical and/or cultural notions with reference to the colonial constructs of the “Middle East” and the “West.” This selection works as a broad political commentary as well as responses to certain trends in “new media” discourse that explicitly or implicitly (sometimes inadvertently) postulate and promote fundamental distinctions and discontinuities between the “virtual” and the “real.” Such distinctions inevitably idealize the illusionary (utopic or distopic) space where code is entirely capable of masterminding experience, or where code becomes experience. The projects in RealPlay reject such Westernoriented techno-centric and techno-determinist tendencies by privileging urgent socio-political issues over media formalism and by insisting on the priority of social interaction over, as well as through, cyberspace interactivity. Using diverse practices of documenting and archiving, these projects capitalize on the function of the internet as a repository of retrievable data and, more importantly, as a communication channel that can be advantageously put to use towards inciting counter-hegemonic thought and action.
Subverting stereotypical representations of Palestinians as fanatic terrorists or people solely occupied and pre-occupied by war, in “http://farah.dyne.org/”, an account from a trip to Palestine following the brutal Israeli re-occupation campaign of the West Bank in 2002, software pioneer and artist Jaromil (Italy) gives an account of the everlasting human search and capacity for joy in towns and refugee camps under siege (again). Farah: In Search for Joy is a brief and unpretentious traveler’s search for and documentation of those aspects of the Palestinian popular culture that continue to create, offer and celebrate joy in spite of the prolonged conditions of colonial occupation and war. As an archive (in progress), the website is incubated in and reflective of the artist’s interactions with his environment as it is a virtual space for our encounter with a dimension of Palestinian reality categorically forgotten or ignored in dominant representations in the
An initiative of Hard Pressed Collective (Canada), a group of media artists with a penchant for politically-engaged art-making, “http://www.charlesstreetvideo.com/project.php?id=1” The Olive Project is, on the surface, a programmed compilation of short videos by diverse international artists. Thematically grounded in the historically rich and culturally diverse symbolism of the olive, the videos exhibit a range of artist responses to the ruthless practice of uprooting olive trees in Palestine by Israeli forces- a favourite occupation strategy aiming to force Palestinians off their land by effectively undermining the economic survival of the growers and their local production.
Collectively, the videos construct a time-based memorial to “peace and justice” made of 2-minute blocks. Before, through and beyond the remediated compilation and its dissemination in cyberspace, however, this project functions as a tool for consciousness-raising, mobilizing and networking around an issue of real world significance.
“http://www.crixa.com/mireille/Migrant/Tampa.htm” is the web component of Mireille Astore’s (Australia) larger sculpture and performance project that takes as its starting point the infamous Tampa ship incident in August 2001. The incident brought local and international public attention to the plight of the “boat people”- refugees primarily from the “Middle East”-who, upon arrival in Australian waters, were first refused landing and then recast as prisoners by a xenophobic “Western” state. Astore’s obsessive photographic documentation (from the inside looking out) of her 18-day self-inflicted virtual imprisonment-in a scaled recreation of Tampa on a public beach in Sydney-functions as a looking glass in which to observe the uneasy and disturbing reactions to the arrival of new migrants by a society that has repressed its own memory and burried its own racist and colonial settler history under the grounds on which Woomera and Nauru detention centres currently stand for real.
“http://www.threadbare.tyo.ca/” Project Threadbare is animated by a coalition of activists in response to the detention in August 2003 of 21 South Asian (primarily Pakistani) students in Toronto, Canada under the guise of anti-terrorist and national security operations. Since its inception, Project Threadbare has been an immensely successful local expository and legal campaign against racial targeting, detention and deportation of immigrants and refugees by Canadian police, intelligence and immigration forces, who are hotly in the race for the third place prize of dishonour, after USA and Australia, for breaking their own nation’s civil liberties codes as well as international human rights conventions. This website, an ongoing forum, newsboard and archive for Toronto activists, is one wiki that doesn’t pretend to be the virtual world’s better-than-original replica of “democracy.” Although some of the active members of the coalition are artists and their website is pretty slick, Project Threadbare was not conceived as and does not make a claim to being new media art; rather, it is a real world experiment in social and creative participation and collaboration, with tangible impact in the lives of the original 21 detainees and now in the lives of many others in similar predicaments.
“http://surveyofcommonsense.net/” Survey of Common Sense is a recreation of an earlier participatory painting installation project by the same title by Haleh Niazmand (USA). A parody of the polling industry that for the past 5 or 6 decades has been the engine of “democracy” in the United States, Niazmand’s image-text intervention, in the form of survey questions with forced yes/no “choices,” is not only an authorial comment on the practices of polling as determinant of “democratic outcome,” but a strong challenge to notions of “pragmatism” and “common sense” preached from political pulpits in the present-day United States. Beyond this, Survey of Common Sense is an invitation, courtesy of an artist from the “Middle East” and a citizen of the “West,” to the participants/viewers to recongnize, acknowledge and reflect upon the ways in which each and every one of us are intricately and deeply implicated, really and virtually, in the bloody absurdity of this political moment. As such and in the very impossibility of responding with any degree of ease and resolution to Niazmand’s questions, this work is an incessant challenge issued so we will not slip into forgetting.
The projects in this selection have taken shape independently of this curatorial effort. My thanks to all the participants for allowing me to include their work in RealPlay.

About the curator:
Gita Hashemi
engages in cultural practice as artist, writer, curator, organizer, worker and educator. Her most recent curatorial projects include RealPlay
(2004, netart exhibit) Negotiations: From a Piece of Land to a Land of Peace (2003, art-driven multidisciplinary event,
http://negotiations2003.net/), WILL (2003, multidisciplinary transnational exhibition, http://negotiations2003.net/will), Afghanistan,
2002: No Refuge and Locating Afghanistan (2002-3, image-text exhibition and publication with photography by Babak Salari), and
Trans/Planting: Contemporary Art by Women from/in Iran (2001, with Taraneh Hemami, http://strictlypersonal.net/transplanting).
Her recent titles include Post-Coitus (2003, http://post-coitus.net), Olive Fair (2003, http://olivefair.net/), Many Stones for Palestine
(2002, http://strictlypersonal.net/stones), The Word Room (2001, with Post-Exile Collective, http://wordroom.net/), A War Primer (2001,
sound installation), and Of Shifting Shadows (2000, CD-R). Hashemi’s work has been exhibited, reviewed and collected nationally and
internationally. She is the founder of Iranian Artists in Dialogue, a co-founder of Post-Exile Collective and a founder of Creative Response.
She resides in Toronto, Canada.

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Hashemi’s labour as an intellectual has crystallized in simultaneous processes of de/re/construction; not in any specific class of objects or
within any particular representational genres, but in the envisioning of the spaces and formulation of the critical practices that can be
constitutive in transformative social and political movements. Informed by her direct engagement in liberatory political struggles before,
during and after the 1979 Iranian Revolution as well as her experience of exile in North America, Hashemi’s work takes shape in a
continuous process of countering masculinist discourses of fundamentalism, fascism, colonialism, corporatism and militarism. Notions of
community, co-labouring, public space and active participation are integral to her creative engagement. So is the understanding that
artistic practice, as a fundamentally social process, is inherently political and must, therefore, be subject to conscious (re-visionary)
feminist re-articulation: The political is personal, the personal is poetic, the poetic is political, the political must become ethical.