http://givetotake.blog.co.uk/____________ART PROJECT BY NADA PRLJA THAT WORKS WITH ECONOMIC INEQUALITIES BETWEEN EASTERN AND WESTERN EUROPEAN ARTWORLD/____________Post a question to a Cultural Worker who is active within (or related to) the Arts scene in Eastern Europe (South Eastern Europe) /____________YOU WILL RECIEVE ANSWERS TO YOUR QUESTIONS FOR FREE! /_____________Please complete the questionaire and post your question to givetotake.blog@gmail.comen-EUhttp://backend.userland.com/rss092http://givetotake.blog.co.uk/http://data5.blog.de/design/preview/c0/f1a1ca6a5550ca075aa89ff55a7e7a_160x200.jpg <p><strong>GIVE TO TAKE / Intellectual Property Agency / POST A QUESTION</strong></p> <p><em><strong>You are invited to post a question to a Cultural/Art worker who is involved with the Eastern European (more specifically, the South Eastern European) Art Scene.</p> <p><strong>Before posting your question, please confirm your agreement with the following requirements with YES.</strong><br> (if you do not agree, your question will not be answered).</p> <p><strong>1. Do you agree to receiving information for free? _ _ _ _ _<br> 2. Do you take moral responsibility for NOT PAYING (giving nothing in return) for the information given and received? _ _ _ _ _</strong></p> <p><strong>I am posting this question to:</strong><br> read from the list of CONTRIBUTORS (<strong>contributors list tag</strong>)<br> (read contributors' biographies on <strong>contributors tag</strong>)</p> <p>- - - - - - - - - - - - - - - - - - - -</p> <p><strong>Question:</strong></p> <p>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -</p> <p>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -</p> <p>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -</p> <p>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -</p> <p>Write your name:- - - - - - - - - -<br> Write your email:- - - - - - - - - -</p> <p>Send the questions (with the agreement) to <a href="mailto:givetotake.blog@gmail.com">givetotake.blog@gmail.com</a><br> The questions and the answers will be posted between 08 May and 22 June 2008 on this blog <em><strong><a href="http://givetotake.blog.co.uk.">http://givetotake.blog.co.uk.</a></strong></em></p> <p><em><strong><br> ‘GIVE TO TAKE - Intellectual Property agency’is </strong></em>a Blog Art project by visual artist <em>Nada Prlja</em>.<br> The project developed in conjunction with the exhibition <em><strong>HACK.Fem.EAST</strong></em>, <em>Women and technology in networks. </em>Curated by <em>Tatiana Bazzichelli</em> and <em>Gaia Novati</em>.<br> </strong></em> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/07/07/title-4144244/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/07/07/title-4144244/Mon, 07 Jul 2008 10:29:20 +0200 <p><strong>GIVE TO TAKE / Intellectual Property Agency / QUESTIONS & ANSWERS</p> <p>Question by Simona Nastac (Curator, London)</p> <p>Question:<br> Do you think the concept of Eastern Europe is still appropriate within New Europe?<br> In your opinion, are all the members of New Europe defined as a unity, rather than in opposition to one another (especially in relation to the artworld)?</p> <p>Answer by Vesna Milicevic / Visual Artist living in Belgrade, Serbia</strong></p> <p>The integral part of European identity is a classification on East and West.<br> The collapse of Communism in Eastern Europe shows how common identity could be dramatically changed as a result of shifting of the world powers.<br> This struggle to find oneself in the post cold war world order has not always been so easy for some countries.<br> For republics of ex Yugoslavia, it has not been peaceful. From that point of view, these new made countries are rather opposition to each other than an unity.<br> In Serbia, my native country, people are faced with shifting of the international powers from the one side and burden of recent national history from the other.</p> <p>And when we talk about the artworld, the "fall of the iron curtain" opened the possibilities to Eastern European artists to be part of the international art scene. In my opinion, these works were something new, fresh and different influenced by specific social, cultural and politic contexts.<br> Nowadays, thanks to Internet, the Southeastern artist cannot feel isolated any more.<br> His/her background could influenced the work but I do not believe that we could talk separately about new European or western European art world. The art scene is one with many artists and their various and authentic statements.</p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/06/18/give-to-take-intellectual-property-agenc-4331160/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/06/18/give-to-take-intellectual-property-agenc-4331160/Wed, 18 Jun 2008 10:56:38 +0200 <p><strong>GIVE TO TAKE / Intellectual Property Agency / QUESTIONS & ANSWERS</p> <p>Question by Simona Nastac (Curator, London)</p> <p>Question:<br> Do you think the concept of Eastern Europe is still appropriate within New Europe?<br> In your opinion, are all the members of New Europe defined as a unity, rather than in opposition to one another (especially in relation to the artworld)?</p> <p>Answer by Eleonore de Montesquiou (Artist living in Paris, Berlin and Tallinn)</strong></p> <p><strong>Do you think the concept of Eastern Europe is still appropriate within<br> New Europe?</strong></p> <p>yes, very much so, as long as the grandmothers are alive, they have a common language, they grew up with the same cartoons on Tv, songs, etc, but it is not the case anymore for the kids born after Perestroïka...</p> <p>they are similarities in all fields</p> <p>- economics<br> - social security<br> - in the countries with a strong russian population: celebrations/conflicts/citizenship issues<br> - they all have in common is a very difficult relationship with Russia<br> - crushed insutry and agriculture, strong service based economy<br> - creation of a (new)national identity, this a long topic, but at least the most obvious signs of creation of an image: monuments, e-economy booming, beautiful women, honey...</p> <p>and so on..</p> <p>I<strong>n your opinion, are all the members of New Europe defined as a unity, rather than in opposition to one another (especially in relation to the artworld)?</strong></p> <p>No, not from the inside, it is a Wetsern cliché indeed to include all Eastern artists in a group, or Southern Eastern artists on the one hand/Northern Eastern, or the Baltics (which does not mean anything...) and so on - practical organisation for exhibitions</p> <p>They are some links of course, Tallinn-Riga, Tallinn-Vilnius but they are based on personal connection rather than an essential unity</p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/06/18/title-4331074/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/06/18/title-4331074/Wed, 18 Jun 2008 10:36:30 +0200 <p><strong>GIVE TO TAKE / Intellectual Property Agency / QUESTIONS & ANSWERS</strong></p> <p><strong>Question by Stefano (Visitor)</strong></p> <p><em><strong>Question:<br> Dear Ivana, since I found the resultes amazing, I d like to know more about financing of your gallery?</strong></em></p> <p><strong>Answer by Ivana Blago, curator at Miroslav Kraljevic (g.mk.hr)</strong></p> <p>Galerija Miroslav Kraljevic has a specific position within the Croatian contemporary art scene. Whereas the scene is generally polarized between the state-owned and city-owned institutions that date from the time of socialism and the much more vibrant non-institutional scene that has started developing since late 1990's, </p> <p>G-MK's position is somewhere in-between, or beyond these divisions. Developed from the socialist model of workers' cultural association withing large state companies (and the utopist idea of making workers not only consumers but also active participants in producing culture, as well as a way of controling their free time), the gallery Miroslav Kraljevic started out as the exhibition venue of amateur artists / workers of INA - one of the major oil companies in ex-Yugoslavia and now Croatia. Today, INA is a prosperous company on its way to become a fully privatised corporation, and it is still one of the sponsors of the gallery, the support being also a heritage from socialost times, and not a capitalist model of corporate investments and promotion through culture. The scope of this financial support is, accordingly, merely symbolic. </p> <p>Other regular sponsors of the gallery program are the usual suspects / Ministry of Culture Croatia, Office for Culture of the City of Zagreb. Individual projects are sponsored by collaborations with foreign embassies in Croatia, collaborations with international partner institutions and EU cultural foundations. Most, almost all of the funding, is targeted at programming and production. </p> <p>The situation here is very similar to what many NGO organisation in culture face - the lack of institutional financial support which, in our case, results in the fact that the gallery officially employs only one staff member - the director, which sounds absurd in every way, and especially regarding to the amount and diversity of the program we are producing. </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/06/11/title-4304060/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/06/11/title-4304060/Wed, 11 Jun 2008 23:54:05 +0200 <p><em><strong>GIVE TO TAKE / Intellectual Property Agency / QUESTIONS & ANSWERS</p> <p>Question by Gaby Bila-Günther</strong></em></p> <p><strong>Lady Gaby</strong> aka Gaby Bila-Günther was born in Romania, grew up in Australia and is now a resident of Berlin. She is writer, curator, artist and performer. ladygaby.awardspace.com</p> <p><strong>Question:<br> Do South Eastern European artists compete with one another? If so - Why? If not - Why not?</strong></p> <p><strong>Answer by Simona Nastac (Free lance curator and curator at ICR, London)</strong></p> <p>Yes, they compete one with another, as all artists do - no matter their national identity. This is because art is a competitive affair. An entangled system productive of value, power and prestige within which artists have to challenge permanently the existing hierarchies, beyond any topics of national and cultural identity. </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/06/08/title-4289082/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/06/08/title-4289082/Sun, 08 Jun 2008 16:42:32 +0200 <p>Some general questions:</p> <p>What is a Southeast European artist?<br> Why do Southeast European artists create art?<br> Why do Southeast European artists make exhibitions?<br> Why do Southeast European artists ask questions?<br> Do Southeast European artists ask questions?<br> Why do Southeast European artists expect acknowledgment?<br> Why do Southeast European artists earn (no) money?<br> Are all Southeast European artists contemporary?<br> Does a Southeast European artist need a dictionary?<br> Why do Southeast European artists not shut up?<br> Do Southeast European artists masturbate?<br> Do Southeast European artists brush their teeth in other peoples kitchen?<br> Can I delete the word Southeast European without changing the subject above or paste it into the following?<br> Does art have a national identity and is self censorship allowed?<br> Do Southeast European artists love Southeast European art?<br> Do Southeast European artists love art?<br> Do artists love Southeast European art?<br> Do artists love art?<br> Can art be young or is an artist a living dinosaur?<br> Can artists be vegan?<br> Can the audience be the judge?<br> And the price is?<br> Can a painting be beautiful or ugly or just good or bad?<br> What is the actual value of a work of art?<br> Is art water in wine?<br> Is art bread?<br> Who is the best artist?<br> Are famous artists good artists or just good in (show) business?<br> Can one learn art?<br> Do bad artists exist?<br> Do bad artists have good intentions?<br> Is art a social change of political subjects through ego binoculars (ha)?<br> Is a painter allowed to be blind?<br> Do artists have responsibilities towards their creation?<br> Is the remark “good show” a compliment?<br> Is art democratic?<br> Is an audience of one person big enough?<br> Is being an artist a calling or a profession?<br> Can a monkey paint?<br> Is art not only human?<br> Where is the fault between art and design today?<br> What is the name of the first female artist painting a black male nude on canvas?<br> Is art contaminating?<br> Did you ever cry looking at art?<br> Does art kill?<br> Did anybody die of art except artists?<br> Is everything allowed in art?<br> Is everything allowed in Art?<br> Do you want your child to become an artist?<br> Do artists retire?<br> Is art correct?<br> Is art a product?<br> Do artists (pretend to) see more than other humans?<br> Are artists agitators? challengers? Or just sick parasites from outer space?<br> Do artist lack responsibility?<br> Is black not a color?<br> Is art a green, clean and recyclable object?<br> Is the present moment a reality and does art history exist?<br> Can you listen to an artist and should artists be trusted?<br> Art is always smart?<br> What is the value of a cv?<br> Can artists touch your willy or blow your harp?<br> Can artists learn and listen?<br> Can I replace the word Southeast European artists for Norwegian dentist assistants or just people in general?<br> Is contemporary art in time or ahead of time?<br> Does art accept answers or discussion?<br> Can I shut up!<br> What is the time?</p> <p>I do not expect any payment for my questions but it would be fine if someone is ready to pull the purse.</p> <p>Ron Sluik (NL, 1961): lived and worked in Chisinau Moldova (2001- 2007)<br> Presently living and working in Bergen Norway.<br> <a href="http://www.sluik.info">www.sluik.info</a> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/23/title-4213795/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/23/title-4213795/Fri, 23 May 2008 21:23:59 +0200 <p><strong>GIVE TO TAKE / Intellectual Property Agency / LIST OF CONTRIBUTORS</strong></p> <p>1. Kathy Rae Huffman / Curator<br> 2. Gulsen Bal / Visual Artist / Curator / Researcher<br> 3. Joanna Sokołowska / Curator<br> 4. Simona Nastac / Curator / Writer<br> 5. Ana Dzokic / Architect / Visual Artist<br> 6. Vesna Madzoski / Theorist / Researcher<br> 7. Marta Zarzycka / Art Historian / Researcher<br> 8. Adela Zeleznik / Curator<br> 9. Antonia Majaca / Curator<br> 10. Zaneta Vangeli / Visual Artist<br> 11. Jolanda Todorovic / Curator<br> 12. Biljana Isijanin / Curator<br> 13. Nada Peseva / Curator<br> 14. Nela Milic / Researcher<br> 15. Vesna Bukovec / Visual Artist<br> 16. Maja Bajevic / Visual Artist<br> 17. Melina Sadikovic / Psychologist<br> 18. Gaia Novati / Curator<br> 19. Tatiana Bazzichelli / Curator<br> 20. Vesna Milicevic / Visual Artist<br> 21. Mira Gacina / Curator<br> 22. Branka Ćurčić / Curator<br> 23. Tanja Lazarevic / Visual Artist<br> 24. Iliyana Nedkova / Curator<br> 25. Kyd Campbell / Visual Artist / Curator<br> 26. Selena Savic / Visual Artist / Architect<br> 27. Eleonore De Montesquiou / Visual Artist<br> 28. Alenka Gregoric / Curator<br> 29. Diana McCarty<br> 30. Ivana Bago/ Art Historian / Curator<br> 31. Sonja Soldo / Cultural Activist / Organizer / Researcher</p> <p><em></em> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/16/title-4152975/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/16/title-4152975/Fri, 16 May 2008 17:57:51 +0200 <p>You can leave your comments freely::: </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/16/title-4182666/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/16/title-4182666/Fri, 16 May 2008 17:49:51 +0200<p> <small> <a href="http://givetotake.blog.co.uk/2008/05/16/give-to-take-intellectual-property-agenc-4182664/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/16/give-to-take-intellectual-property-agenc-4182664/Fri, 16 May 2008 17:49:08 +0200 <p><strong>GIVE TO TAKE / Intellectual Property Agency / QUESTIONS & ANSWERS</strong></p> <p><strong>Question by ephemeral8</strong></p> <p><strong>Question:</strong><br> <strong>Do you think that curatorial role is needed in the Internet Art?</strong></p> <p><em><strong>Answer by Kathy Rae Huffman (Curator at Cornerhouse, Manchester, UK)</strong></em></p> <p>Let me reply rather spontaneously, because if I sit and think about this, it might become 'a job' to do, and I think there are some very obvious ways to look at it. I'm quite bored with artists who feel curators are simply out for themselves, building their own careers on the backs of artists. In my experience, there is a real partnership between artists and curators, mutually appreciative roles (that sometimes even, become blurred). OK, here are some thoughts:</p> <p>Curator issues:<br> 1. A Curator of Internet Art might seem like an oxymoron -- after all, Art online is really interesting exactly because it bypasses institutional standards, taste and rhw gatekeepers who set the market value of art sales (i.e.: collectors, gallery and museum curators).</p> <p>2. Independent curators have become more prevalent, more proactive, and many of them disassociate themselves from institutions, and take the side of the artist (sometimes the curator is also an artist, even). This curator looks for the fresh, inspiring, new work. Gallery and museum curators look at the exhibitions, selections, and texts of independents for inspiration. The Internet has helped make this category of curator visible, and more possible, and has even given a new voices of authority to 'the independent'.</p> <p>Internet issues:<br> 1. On the one hand, the internet is simply a platform for artists to explore. There are access issues across the globe which makes it more likely that Austrian artists use the Internet, for example, than Chinese artists. Internet provides opportunities that video doesn't provide, for example.</p> <p>2. Internet Art exists outside the influence of the rest of the art world, both for aesthetics and for commerce. Only when artists are commissioned to create an Internet work of art, do they have a chance to realise profits (and then the artists' time consumed is rarely part of the calculation).</p> <p>Curating for Internet Art.</p> <p>1. In the mid-1990s, hardly anyone outside a small group of like minded artists and curators was aware of the intelligent work that artists were accomplishing on the Internet. It was a exciting, and a privilege, to curate 'exhibitions' of Internet Art, as special projects for domains such as the Ars Electronica, for festivals, and even for institutions.</p> <p>2. The proliferation of websites, art portals, art projects online (don't forget those that involve real-time events), blogs, vlogs, streaming events, podcasts, sound files, ring tones by artists and so forth presents a situation of absolute oversaturation and extreme pressure to keep up. What is valuable, what is good, how do you find this work, how to you evaluate it? What is Art for the Internet worth as cultural phenomena?</p> <p>3. Curating Internet Art brings the concerns that curators have (for example a theoretical position, looking at technical discipline/style, looking at national trends) together with their network of artists and audiences. This can bring about a much wider discussion, much needed critical response and a context for the work, into the discourse of the contemporary art. This can be curating by an artist (sometimes looking for like minded works to fit with their own), it can be curating for an online platform, or for an institutional venue.</p> <p>4. What does a curator mean for an artist? The curatorial pov can enhance the artists intention, can bring a new audience to the work, and can help audiences understand the work by describing the value of the work (hopefully in plain language). Curators also often have the capability to commission new works.</p> <p>5. Every curator has their likes and dislikes, their history, their point of view -- just as artists do also. It is the magic of finding the fit, and the resulting dedicated communication about a certain work between artist and curator that creates a bond of trust and respect. The risk that a curator is willing to take, by bringing an artist into a publically 'curated' situation, is what gains their reputation -- which allows them to continue to work and curate again and again.</p> <p>Note: most curators work very hard, are dedicated to artists and their ideas, and are not selfish, pompous or lazy in their quest for answering questions raised by artists and their works.</p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/16/title-4182528/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/16/title-4182528/Fri, 16 May 2008 17:19:23 +0200 <p><strong>GIVE TO TAKE / Intellectual Property Agency / QUESTIONS & ANSWERS</strong></p> <p><strong>QUESTION 3</strong></p> <p><strong>By: Simona Nastac (curator, London)</p> <p>Question:<br> Do you think the concept of Eastern Europe is still appropriate within New Europe?<br> In your opinion, are all the members of New Europe defined as a unity, rather than in opposition to one another (especially in relation to the artworld)?</strong> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/14/title-4172807/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/14/title-4172807/Wed, 14 May 2008 13:30:16 +0200 <p>QUESTION 2</p> <p>By Nela Milic</p> <p>to All curators</p> <p>What do you think is considered 'public art' in Eastern Europe? </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/12/title-4164617/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/12/title-4164617/Mon, 12 May 2008 17:47:26 +0200 <p>QUESTION 1</p> <p>by Gulsen Bal</p> <p>to </p> <p>How is it possible today to identify representation that renders the<br> form of the possible identity-form in the word "representation" as<br> concept and in practice within its critical inquiry? </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/12/title-4164614/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/12/title-4164614/Mon, 12 May 2008 17:45:54 +0200 <p>Hvala ti na pozivu na sudjelovanje, projekt svakako ima intrigantno polaziste. Koliko shvacam tvoj projekt zapravo ponavlja istu matricu eksploatacije no ovaj put ona je ucinjena vidljivom, 'oni' i dalje dobivaju informacije, a 'mi' smo i dalje ti koji ih besplatno dajemo, a sve skupa stoji na blogu gdje je dostupno i svima drugima, sto je najsladji dio price. subverzija je u tome, koliko shvacam, da se ovaj puta 'oni' trebaju malo posramiti, meni je jedino problem sto ja nemam potrebu nikome raci da bi se trebao sramiti trazenja i besplatnog preuzimanja informacija jer smatram da je to inherentna vrijednost procesa unutar suvremenue umjetnosti i misli. Nadam se da ce se u sljedecoj fazi projekta dogoditi i neki oblik reciprociteta, s obzirom da uvijek vise vjerujem u reciprocitet nego u jednadzbe zlocina i kazne. </p> <p>Antonia Majaca </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/11/give-to-take-intellectual-property-agenc-4158741/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/11/give-to-take-intellectual-property-agenc-4158741/Sun, 11 May 2008 10:18:32 +0200 <p><strong>Sonja Soldo / Cultural Activist / Organizer / Researcher<br> </strong><br> Born in 1976 in Zagreb, Croatia. She is cultural activist, organizer and researcher in the field of Public Art. Member of nongovernmental organization [BLOK] - Local Base for Culture Refreshment since 2001 - takes part in organizing international UrbanFestival, editor of the program since 2005. Program coordinator of Operacija: Grad in 2005, a ten day event that temporarily occupied the premises of abandoned industrial complex of the former factory ‘Badel’ and ex city slaughterhouse 'Zagrepčanka' with an extensive program by 26 organizations active in Zagreb's broader independent cultural scene. One of the coordinators of Pravo na grad, an initiative that campaigns against privatization of public space and advocates citizen’s participation in urban development of Zagreb.</p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/09/title-4152780/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/09/title-4152780/Fri, 09 May 2008 17:00:49 +0200 <p><strong> Ivana Bago/ Art Historian / Curator</strong></p> <p> <em><strong>Ivana Bago,</strong> art historian and curator at g-mk | galerija miroslav kraljevic, Zagreb, Croatia</em> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/09/title-4152763/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/09/title-4152763/Fri, 09 May 2008 16:55:32 +0200 <p><strong>Diana McCarty</strong></p> <p><strong><em>Diana McCarty</em></strong> is an agent of cultural provocation. She is a co-founder of bootlab and reboot.fm, she runs the Faces mailing list for women in media.erlin. She is a co-founder of bootlab and co-initiated the open source radio project, reboot.fm. She is an active member of the Free Cultural Radio Network, Radia.FM. Together with Valie Djordjevic, Kathy Rae Huffman and Ushi Reiter, she runs the Faces mailing list for women in media. As part of the International Women’s University server development team, she worked with Seda Gürses, Barbara Schelkle, Prof. Heidi Schelhowe, and Heiki Pisch - and also worked to develop feminist pedagogical approaches to computing.</p> <p>McCarty co-founded the Nettime Mailing list and as part of the Media Research Foundation, she co-organized the MetaForum Conference Series in Budapest. Her main interests are exploiting social and technological systems for cultural use; i.e. piracy and open source software development for real life. </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/08/title-4147411/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/08/title-4147411/Thu, 08 May 2008 12:34:16 +0200 <p><strong>Tatiana Bazzichelli / Curator</strong></p> <p>Tatiana Bazzichelli a.k.a. T_Bazz (Rome, 1974), is a Communication Sociologist and an expert in Media Art, Hacktivism and Net Culture. Since the 90s she organized events and conventions such as Cum2Cut (Berlin, 2006, 2007), HackMIT! (Berlin, 2007), Hack.it.art (Berlin 2005), Art on the Net in Italy (Berlin 2005), MediaDemocracy and Telestreet (Munich, 2004) and AHA (Rome, 2002). She is the founder of 'AHA: Activism-Hacking-Artivism', a networked project based in Berlin, which received an Honorary Mention in the Digital Communities category of the Prix Ars Electronica 2007. She manages the <a href="mailto:aha@ecn.org">aha@ecn.org</a> mailing list and writes on art, media and technology for many Italian magazines. In 2006, she published the book "Networking. The net as Artwork" presented last year at Transmediale07.</p> <p><a href="http://www.networkingart.eu">www.networkingart.eu</a>, <a href="http://www.ecn.org/aha">www.ecn.org/aha</a>, <a href="http://www.cum2cut.net">www.cum2cut.net</a>, <a href="http://www.tatianabazzichelli.online.de">www.tatianabazzichelli.online.de</a></p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/give-to-take-intellectual-property-agenc-4143716/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/give-to-take-intellectual-property-agenc-4143716/Wed, 07 May 2008 16:30:52 +0200 <p><strong>Gaia Novati / Curator</strong></p> <p>Gaia Novati is involved since many years in the Italian queer countercultural movement. She has worked with radio and visual media projects. Co-founder of Sexyshock, communication laboratory on gender theme and first sex-shop managed by women in Italy, she is interested since long in independent pornography. She is one of the organizers of Cum2Cut, Indie-Porn-Short-Movies Festival in Berlin (2006-2008), where she lives since 2006.<br> <a href="http://www.cum2cut.net">www.cum2cut.net</a> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/give-to-take-intellectual-property-agenc-4143710/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/give-to-take-intellectual-property-agenc-4143710/Wed, 07 May 2008 16:30:24 +0200 <p><strong>Alenka Gregorič / Curator</strong></p> <p>Alenka Gregorič is Artistic Director of ŠKUC Gallery in Ljubljana, Slovenia. <a href="http://www.galerija.skuc-drustvo.si">www.galerija.skuc-drustvo.si</a> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4143395/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4143395/Wed, 07 May 2008 15:17:36 +0200 <p><strong>Eléonore de Montesquiou / Artist</strong></p> <p>Eléonore de Montesquiou is a French-Estonian artist born in 1970, she lives and works in Berlin and Tallinn. </p> <p>The films of Eléonore de Montesquiou explore the identities and the borders, with a minimal formal vocabulary and an oniric esthetics. The artist, having lived a long time in Austria, Estonia, Germany, is located constantly between two languages, two cultures, two generations, two stories. She interviews the inhabitants of border areas, urban intervals, forgotten cities, and assembles their testimonys in a significant way. Her videos, of a subtle poetry, shows of a true love for the interviewed people and a singular attention for strange stories of every day life. </p> <p>In 2008, Eléonore de Montesquiou was awarded the Senat Stipendium (Berlin, Germany) for a film in Moscow. In 2006, she was awarded the Villa Médicis Hors les Murs in France, and a Senat Stipendium in Berlin to realise a film and publication in Poland with women who travel between Poland and Germany to earn a living: Podroznizcki („Travellers“).</p> <p>In 2005-2006, she worked on ATOM CITIES, a documentary project dealing with the Russian minorities living in ex-closed nuclear cities in Estonia.</p> <p>Eléonore de Montesquiou has been working since 1998 with the Galerie Zürcher in Paris. Her work is based on a documentary approach to reality, translated in films, drawings and texts. Her previous projects dealt with the symbolism of the wedding dress in Robes (1998, France), the relationship of a women to her body regarding pregnancy in Swing, ma demeure (2003, Paris-Berlin), the relationhip to one’s home in Minu maja on minu maa (2001, Estonia) and Par exemple, Ebenthal (2004, Austria). With Olga Olga Helena (2005, St-Petersburg), Eléonore de Montesquiou was questionning the experience of political refugees and their life in exile. </p> <p>Selected videography:<br> ATOM CITIES, 2006, Estonia<br> OLGA OLGA HELENA, 2005, Russia<br> PAR EXEMPLE, EBENTHAL, 2004, Austria<br> SWING, MA DEMEURE, LA PUTAIN ET LA MAMAN, 2003, France<br> MINU MAJA ON MINU MAA, 2001-2002, Estonia </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/give-to-take-intellectual-property-agenc-4143356/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/give-to-take-intellectual-property-agenc-4143356/Wed, 07 May 2008 15:04:35 +0200 <p><strong>Kyd Campbell - Artist / Curator</strong></p> <p>Kyd Campbell is a nomadic programmer and curator born in Montreal, Canada specialized in circulation, media and audio art and is also as a digital creator of public interactive situations.</p> <p>She has developed a number of cultural venues in Canada and Eastern Europe including collaborations with the Upgrade! International network, Public Art Lab’s project Mobile Studios, the Pure Data community, the HTMlles festival and CTRL_ATL_DEL festival in Istanbul. With Macedonian artist, curator Toni Dimitrov she co-founder of tiny noise and contributes to digital communities and research groups focused on observing mobility and the emotional aspects of human-machine relationships. </p> <p>Remaining independent allows her some freedom to speculate and experiment, to welcome all forms of collaboration and information exchange. <a href="http://www.frontierlab.org">www.frontierlab.org</a>, <a href="http://www.tinynoise.com">www.tinynoise.com</a> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4143314/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4143314/Wed, 07 May 2008 14:55:42 +0200 <p><strong>Selena Savic / Architect / Artist</strong> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4142609/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4142609/Wed, 07 May 2008 11:49:47 +0200 <p><strong>Iliyana Nedkova / Curator</strong></p> <p>Iliyana Nedkova is a curator and writer working on a range of contemporary art projects from both Edinburgh and Sofia.</p> <p>Described as 'a curator of taste and critical discernment', Iliyana is also a producer and critic of contemporary art and design with more than 15 years of experience. Currently, she is a Creative Director (New Media Art) at Horsecross, Perth where she is curating the innovative Threshold artspace programme since 2004. Recently Iliyana delivered a series of large-scale international projects working as an Associate Curator at New Media Scotland (2001-04), Stills Gallery, Edinburgh (2003-04), the Foundation for Art and Creative Technology (FACT) Liverpool (1996-2001) and as Media Arts Officer at the Soros Foundation for the Arts, Sofia (part of the Soros Foundation Network) (1994-1996).</p> <p>She is a founding Co-Director of ARC: Art Research Communication – a curatorial practice working nationally and internationally with artists, exhibitions, art fairs, editions and critical context since 2004. Latest curatorial projects include the international symposium of curating new media Art Place Technology, Liverpool and ARC Projects – the first commercial gallery for contemporary art in Sofia established in 2007. Currently, she is a PhD candidate exploring Curatorial Theory and Practice of Contemporary Art at Liverpool John Moores University. She is also serving as Honorary Cultural Attache at the Consulate of the Republic of Bulgaria. Iliyana regularly delivers talks at various contemporary art fora, publishes both in her native Bulgarian and in English, and sits as a consultant, assessor and advisor including at the Arts Council, the British Council and International Programme Committee of ISEA (International Symposium on Electronic Arts). </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4142564/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4142564/Wed, 07 May 2008 11:35:39 +0200 <p><strong>Tanja Lazarevic / Visual Artist</strong></p> <p>Born in 1967 in Ljubljana, Slovenia. Lives and works in Ljubljana. She has graduated in architecture from the University of Ljubljana, works with photography, video, and the internet. Most of her projects were conceived in collaboration with Dejan Habicht. As artist in residence she spent three years in New York and Vienna. Her work is regularly exhibited in major art exhibitions in Zagreb, Sarajevo, Skopje, Budapest, Venice, Berlin and Karsruhe.</p> <p>EDUCATION / RESIDENCES:<br> 2005 Ministry of Culture of the Republic Slovenia, Berlin<br> 2001 KulturKontakt, Vienna<br> 1999 Ministry of Culture of the Republic Slovenia and SCCA-Ljubljana, New York<br> 1987- 1993 School of Architecture, University of Ljubljana</p> <p>RECENT SOLO EXHIBITIONS:<br> 2006 Dialogue in the Kitchen, Volume I, P74 Center and Gallery, Ljubljna<br> 2005 The Rustling of Our Native Forests (with Dejan Habicht), P74 Center and Gallery, Ljubljana<br> 2004 Ljubljana from Road (with Dejan Habicht and Blaz Kriznik), Museum of Modern Art-Information Cente, Ljubljana<br> 2004 The State of Things (with Nina Mesko), City of Women, L jubljana<br> 2003 The Big Erotic Calendar (with Dejan Habicht), P74 Center and Gallery, Ljubljna</p> <p>NOMINATION & AWARD:<br> 2001 nominations for the //international media/art award, ZKM, Karlsruhe<br> 1995 first prize at the international competition of design, Trieste Contemporanea, Trieste </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4142532/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4142532/Wed, 07 May 2008 11:23:43 +0200 <p><strong>Mira Gakina / Curator</strong></p> <p>Mira Gakina was born in Skopje, Macedonia (1978), she is an art historian and art critic. Since 2005 she works for the Museum of Contemporary Art in Skopje, Macedonia.</p> <p>She has curated and organized numerous events: The best in the cultural heritage, Dubrovnik, Croatia in 2005; Close Connection, curatorial program for international curators and art critics, Amsterdam, Holland in 2006; International Partnership Among Museums, Weil Gallery-Texas and MoCA-Skopje, 2006; etc.</p> <p>Gacina writes for different magazines including Large Glass, Art Republic magazine, etc. She reviews art events for daily newspaper Utrinski vesnik. Member of AICA Macedonia from 2006.</p> <p>Graduated from the Institute of History of Art and Archeology at the Faculty of Philosophy in Skopje, Macedonia (2004). </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4142367/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4142367/Wed, 07 May 2008 10:44:02 +0200 <p><strong>Branka Ćurčić / Curator</strong></p> <p>Branka Ćurčić works as an editor in the Infocentre department at kuda.org, New Media Center from Novi Sad in Serbia <a href="http://www.kuda.org">www.kuda.org</a> and as coeditor in the publishing department of the New Media Center, called "kuda.read". </p> <p>Her work focuses on examining critical approaches towards new media culture, technologies, new cultural relations, contemporary artistic practice and the social realm. </p> <p>She attends MA in Theory of Media and Art at the Belgrade's University of Art.</p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/07/title-4142237/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/07/title-4142237/Wed, 07 May 2008 10:11:20 +0200 <p><strong>Natasa Petresin-Bachelez / Curator</strong></p> <p>Natasa Petresin-Bachelez is an independent curator and critic based in Paris and Ljubljana, Slovenia. She finished her Master studies at EHESS, where she has been a PhD candidate since 2006. At EHESS she is co-directing a seminar on artistic and curatorial practices, together with P. Falguieres, E. Lebovici and H.U. Obrist.</p> <p>She has published articles on contemporary and new media art in numerous international exhibition catalogues and art magazines, and is a contributing editor for the online review ARTMargins: Contemporary Central and Eastern European Visual Culture (UC Santa Barbara). She has curated exhibitions and projects in Slovenia, Austria, Slovak Republic, Sweden, Iceland, Germany, The Netherlands and France, most recently she guest-curated the exhibition at the festival transmediale.08 in Berlin.</p> <p>Between 2004 and 2006 she has been the president of the jury for intermedia arts at the Ministry of Culture of Republic of Slovenia. </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/06/title-4140737/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/06/title-4140737/Tue, 06 May 2008 22:29:29 +0200 <p><strong>Nada Peseva / Curator</strong></p> <p>Nada Peseva is Senior Officer for culture in the Department for Public Affairs in the City of Skopje, Macedonia. </p> <p>Nada holds Interdisciplinary postgraduates studies in "Interculturalzam, art management and mediation on the Balkans" sponsored by UNESCO, University of Arts, Belgrade, Serbia. In 2000 she has graduated History of Art and Archaeology, Faculty of Philosophy, University of "St. Cyril and Methodious, Skopje, Macedonia.</p> <p>Since 2005 Peseva is Senior officer for culture in the Department for Public Affairs in the City of Skopje. Prior to this possition she was Head of Department for protection of cultural heritage in Ministry of culture; Coordinator of the Working group for implementation of Program for revitalization of the Old Skopje Bazaar (Ministry for culture); </p> <p>Since 2003 she is associate in project for comparative analysis of "Cultural policing in Serbia 1989/2003", Centre for research of cultural development, Belgrade, Serbia</p> <p>She has Curated numerous exhibitions - Curator and organizer of exhibition "Biennale of youth visual artist" , Museum of contemporary art, Skopje; member of organizational team and curator for Macedonian art in international project "The Last East Exhibition Show" 17.05-16.06, Museum of contemporary art, Belgrade, Serbia, etc.</p> <p>Peseva has been lecturing since 2000 and has organised numerous workshope, seminars, public discussions, etc. </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/06/title-4140292/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/06/title-4140292/Tue, 06 May 2008 20:49:34 +0200 <p><strong>Maja Bajevic / Visual Artist</strong> </p> <p> <small> <a href="http://givetotake.blog.co.uk/2008/05/06/title-4140288/#comments">Comments</a> </small> </p>http://givetotake.blog.co.uk/2008/05/06/title-4140288/Tue, 06 May 2008 20:49:02 +0200