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C:\Algorithmic Signs> . .. >Ernest Edmonds >Manfred Mohr >Vera C:\Algorithmic Signs> . .. >Ernest Edmonds >Manfred Mohr >Vera Molnár >Frieder Nake >Roman Verostko Algorithmic Signs Ernest Edmonds, Manfred Mohr Vera Molnár, Frieder Nake, Roman Verostko Presidente / President Mostra a cura di / Exhibition curated by Bruno Bernardi Francesca Franco Consiglio di Amministrazione / In collaborazione con / In collaboration with Board of Administration Stefano Coletto Valentina Farolfi Roberto Zamberlan Progetto grafico / Graphic design Marco Camuffo Direttore / Director CamuffoLab, Venezia Michele Casarin Stampa / Printing Staff Grafiche Arcari, Mogliano Veneto (TV) Stefano Coletto Catalogo stampato su carta / Leonardo Di Domenico Catalogue printed on paper Claudio Donadel Favini Biancoflash Premium Maria Finotello Giorgia Gallina Traduzioni / Translations Dynamic di Elisa Campana Hanno collaborato / In collaboration with Trasporti / Transports Enrica Sbrogiò Ma-co Italia Un ringraziamento speciale a / Special thanks to Anne and Michael Spalter Collection Si ringrazia / Thanks to Victoria and Albert Museum Carroll / Fletcher Gallery DAM Gallery Bruno Bernardi L’Istituzione ‘Fondazione Bevilacqua La Masa’ pre- The Fondazione Bevilacqua La Masa is pleased to senta con Algorithmic Signs uno sguardo al lavoro announce the exhibition Algorithmic Signs - Ernest di cinque pionieri dell’arte generativa attivi in un Edmonds, Manfred Mohr, Vera Molnár, Frieder Nake, periodo nel quale l’interazione tra la macchina e Roman Verostko. This exhibition explores the his- l’operatore umano era segnata da una capacità ela- tory of generative art through the perspective of borativa del computer ancora modesta. Le opere five of its most celebrated pioneers who have been esposte documentano lo sviluppo di una relazione active in this field since its infancy. The works on in parte effettivamente agita e in parte, forse mag- display document the development of an area of giore, attesa, ipotizzata: un territorio di sperimenta- research that has not yet been fully explored: an zione che si sarebbe presto misurato con le oppor- experimental territory that soon had to come to tunità e i vincoli imposti dallo sviluppo del settore. terms with the rapid developments of technology Colpisce il percorso artistico e professionale di au- imposed by the commercial sector. tori come Frieder Nake, ordinario di informatica, o It is astonishing to see how authors such as Frieder come Ernest Edmonds, direttore di un istituto di ri- Nake, Professor of Informatics in Bremen, Ernest cerca a Leicester, o come la stessa Vera Molnár che Edmonds, Director of the Institute of Creative Tech- ha lavorato al CREIAV dell’Università di Parigi 1. nologies in Leicester, or Vera Molnar that worked at L’evoluzione del rapporto uomo macchina, il cam- CREIAV, University of Paris, have combined their biamento dei rispettivi ruoli, la relazione con gli professional and artistic careers over the years. altri impieghi emergenti della tecnologia, dove si è The evolution of the relationship between man and progressivamente rivelata la prevalenza dello stru- machine, the changes in their respective roles, and mento messosi alla ricerca di quei problemi dei the relationship with other emerging technologies quali poter rappresentare la soluzione, stravolgen- and their use, have progressively revealed the per- do così priorità precedenti: tutti temi seguiti con vasiveness of the tool and its search for solutions molta partecipazione etica dal lavoro degli artisti that tend to overcome previous priorities: these in mostra. themes have been followed and addressed with Algorithmic Signs propone al visitatore una rifles- much ethical participation by the artists represent- sione sugli eventi che si sono ormai frapposti tra ed in this exhibition. noi e quelle esperienze, sulla pervasività dispiegata Algorithmic Signs offers the visitor a reflection on in pochi anni dalla tecnologia informatica, al punto those events that we have experienced so far, such da aver compreso (omologato?) nel proprio reper- as the pervasiveness of the most recent comput- torio, senza particolare sforzo, la ricerca artistica er technology which has in many cases absorbed portandola a contatto con la grafica e il design. (homogenised?) in its repertoire even the artistic La mostra è una retrospettiva che non consegna research, bringing it in touch with that of graphics alla celebrazione la ricerca artistica di un momento and design. storico, ma apre a una riflessione sul presente, po- This exhibition is not meant to “archive” a past polato da una moltitudine di altri algoritmi sul cui artistic research but aims at offering a reflection controllo è forse giustificata qualche ansia. on the present time, populated by a multitude of other algorithms over which their control justifies Bruno Bernardi some anxiety. Presidente Istituzione Fondazione Bevilacqua La Masa Bruno Bernardi President Istituzione Fondazione Bevilacqua La Masa 9 Francesca Franco Considerato quanto conosciamo dell’influenza ve- Given what we know about the influence of Vene- neziana nelle arti, in particolare dall’epoca bizanti- tian art on the arts, particularly from the Byzantine na, passando per il Rinascimento e fino al diciotte- period to the Renaissance up to the 18th century, simo secolo, associare Venezia all’arte algoritmica Venice and algorithmic art are not the most obvi- nel campo dell’arte non rappresenta un passaggio ous association in the art world. immediato. Andare alla ricerca della computer art a Venezia rappresenta quindi una nuova e af- Looking for computational art in Venice therefore fascinante avventura. Si tratta di una ricerca resa represents a new, fascinating, and exciting adven- ancora più ardua dalla natura ibrida e fluida di ture. It is an even more challenging task, owing to quest’arte, che ha visto l’introduzione dell’utilizzo its hybrid, fluid nature, and by the fact that this del computer come medium o come strumento nel- art, using the computer as a tool or medium, al- la creazione artistica. Nonostante la computer art though around from the mid-1950s, has not been abbia fatto la sua prima comparsa già dalla metà fully accepted by the traditional art institutions degli anni Cinquanta, è innegabile che essa non and has been overlooked for many years. Despite sia stata ancora del tutto accettata dalle istituzioni the fact that major exhibitions on art and technol- d’arte tradizionali e che per molto tempo sia stata ogy have been shown internationally from the late quasi completamente ignorata. Sebbene esibizioni 1960s-early 1970s, the sense of excitement in- di grande interesse siano state organizzate in cam- stilled by these exhibitions did not last long, and po internazionale a partire dai tardi anni Sessanta in the past 50 years, exhibitions on computer art e primi anni Settanta, l’incitamento alla scoperta have been a rarity. di nuove forme d’arte attraverso l’uso delle nuove tecnologie instillato da queste mostre ebbe breve Contemporary art in Venice has had a relatively durata, e negli ultimi cinquant’anni esibizioni di long history that dates back to the first Venice Bi- computer art sono state una rarità. ennale in 1895. But, as English art historian Law- rence Alloway proved in 19681, the first Biennales, L’arte contemporanea a Venezia ha una storia rela- particularly between 1895 and 1914, were devot- tivamente lunga che può essere tracciata a partire ed to the celebration of the official academic style, dalla prima Biennale di Venezia nel 1895. Ma come or “Salon art”. Far from being innovative and open ha dimostrato esaurientemente lo storico dell’ar- to the new European tendencies, the first Bien- te inglese Lawrence Alloway nel 19681, le prime nales demonstrated a conservative and reassuring Biennali, e in modo particolare quelle tra il 1895 attitude towards art. The breaking of the original e il 1914, furono consacrate alla celebrazione dello Venice Biennale’s curatorial model happened ow- stile accademico ufficiale, oSalon art. Lontane da ing to political circumstances in 1968, the year of essere considerate innovative e aperte alle nuove European radical revolts for social and economic tendenze dell’arte europea, le prime Biennali di- change. From a curatorial point of view, the 1968 mostrarono un atteggiamento conservativo e rassi- Biennale represented an “anomaly” compared to curante nei confronti dell’arte. La rottura di questo its previous renditions. Not only the political in- iniziale modello curatoriale della Biennale accadde stances brought forward by the student revolt, but per mezzo di circostanze politiche nel 1968, l’an- also the introduction of new technologies in art no delle rivolte per un cambiamento economico e from the mid-1960s contributed and allowed the sociale in Europa. Dal punto di vista curatoriale, Biennale to distance itself from its original nine- la Biennale del 1968 rappresentò un’anomalia ri- teenth century Salon art model. Owing to innova- spetto alle edizioni precedenti. Per la prima volta tive and cross-disciplinary projects such as those 11 dalla sua fondazione, la Biennale distanziò se stes- presented by Argentinean artist David Lamelas and diverse –vita monastica, musica jazz, pittura tradi- this subject remains strong and at the same time sa dal modello originario novecentesco della Salon French cybernetic artist Nicolas Schöffer at the zionale, filosofia, matematica e studi di logica– cia- almost uncovered. This exhibition is the first to de- art. Responsabili di questo cambiamento radicale 1968 Biennale, the institution started, slowly,
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