Investigating news creation through expanded acts of visual reportage


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Vitae

Spaziolocal (Giuliano Tarlao & Alice Palamenghi) respond to the Curriculum theme of the Creative Time Summits with a time-based meditation on the CV as data flow.

Our work responds to the Curriculum theme of the Creative Time Summit. We are focused on Curriculum Vitaæ as a “dispositif” (term used originally by Micheal Foucault).

This research focusses on the etymology of the term, and in a transversal way to consider what the meanings (and the signifiers) are when talking about a CV.

Bringing in itself a translation of ourselves, these trans-code rules create one or more document that are intended for dispersion into mare-magnum (a “big sea”) of databases.

CV as a practice today: compile a curriculum today it still makes sense? When writing seems to compile a form to get the supermarket loyalty card? And also: when I sign “I authorize / I agree the processing of my personal data” (for the circulation of the CV in Italy) is very similar to “terms and conditions”, for the software update moods, or the tracking by cookies by of the web-site-world.

CV like body, like a subject-object. CV in a wide perspective that includes the construction (and maintenance) of a personal reputation into a world wide web platforms like Youtube, Facebook, Twitter and others (and in the extent to which this happens).

And, last but not least, what kind of feedback does a CV generate?

spaziolocal.xyz/pressroom

Spaziolocal on Twitter: @spaziolocal


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Monumenti

Robert Frankle responds to Anna Battista’s brief: “Many fashion companies are investing into art/ art spaces / museums, or restoration projects. – Is this genuine patronage or just another way to strengthen a brand’s identity and presence on the market?” @irenebrinatio with an extract from his work Monumenti (2011-15).

This is part of a series, presented as postcards, that has been an ongoing project since 2011. Two new images were made on the occasion of the opening of the 56th Venice Biennale and Press Room’s presence in Venice at that time.

Perhaps most infamously covering the Bridge of Sighs, these billboards promoting luxury and mass commercial brands have covered many of Venice’s most famous sites for years. Oddly enough on the occasion of the opening of the Venice Biennale in May 2015, they disappeared, except for a couple intended to promote Biennale events and which at the same time situated the Biennale on the same level as the brands that usually inhabit these spaces. In the summer, once the contemporary art VIPs had long vacated the city, the billboards re-assumed their usual profiles.


robertfrankle.com


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ArtParty Journalism

Robert Frankle reflects on art parties in Venice in response to Kathleen Soriano’s brief, Party art meets art party, Venice Biennale 2015 @kclSoriano

Art Party journalism smaller

The work is a digital collage of news reports, tweets and images taken during an art party at the Fondazione Prada on the occasion of the 2015 Venice Biennale preview week. A bridge collapsed during the party and some of the party goers took a dip in the Grand Canal. The collage looks at how the Fondazione Prada reacted to the incident and how it was reported in the local Venetian and international press.


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Podcast of breakfast briefing at the Creative Time Summit, 13 Aug 2015

Cymru yn Fenis / Wales in Venice, Ludoteca Santa Maria Ausiliatrice, Venice, Wednesday, 13 August 2015
with briefs by Eleanor Saitta, Charles Gaines, Gregory Scholette and Pedro Lasch as well as Jenn Reid’s performance of Come Home To Your Children And Me and a presentation by Public Studio of their project “Migrant Choir.”

Public Studio