Agricola de Cologne

Biography: Nborn 1950 in Black Forest (Southern Germany)

living and working as a free lance artist
since 1984 in Cologne (Germany)

Studies

1969-1991 Stuttgart State Academy of Fine Arts

(Grafic & Photography)

1971-1974 Munich University (History of Art,Journalism and Dramatic Arts)

1974-1978 Rijksakademie Amsterdam (Painting)

Since 1989, the artist realized several collaborative and media related art works

1989-1993 Foundation of ARCHA Society- a temporary non -profit organization/cultural exchange between Western and eastern Europe

As the director of ARCHA, Agricola organized several international conferences and cultural projects in Germany and Poland.

Since 1994 working with New Media

Between 1995 and 1999 realisation of the Memorial project

"A Living Memorial" in 43 installations at 43 places in Germany, Poland and Czech Republic including Krakow, Auschwitz, Terezin, Berlin, Hamburg, Cologne and others a multi-media art work, including photography, video, computer and sound installations

Since 1999 development of the NewMediaArtProjectNetwork - le Musée di-visioniste

consisting of several websites:

www.le-musee-divisioniste.org

www.a-virtual-memorial.org

www.javamuseum.org

www.engad.org

www.agricola-de-cologne.de

Exhibitions

since 1967 Collective in Germany and abroad
since 1980 Individual in Germany and abroad
since 1987 realisation of 12 major touring exhibition projects in
cooperation with more than 70 museums in Great Britain, France, Belgium,Poland, Lithuania, Russia, Czech Republic and Germany.

2001 - Participations: Exhibitions/Media Festivals

Art Of Torture - Art against Torture
National Centre of Contemporary Art(NCCA) Kaliningrad (Russia)
Seconds: Forever

14th Videoformes Festival Clermont Ferrand (F)
A Virtual Memorial - www.a-virtual-memorial.org on a CD-Rom Version
Condominium - Webart at HICETNUNC 10 - San Vito a/T (Italy)

Lite Show Festival at Boston Cyber Art Festival 2001 (USA)
Screening: Seconds: forever
Station Rose WebCast Lounge at Art Frankfurt (Germany)

A Virtual Memorial

Net-z-lab Internet Award 2001
Nomination Chemnitz (Germany)
Work: No answers
Snow Blossom House
at Sonar Festival Barcelona 2001 (Spain)
Compressed Affair
Azione Parallela Bunker - Interventi of Caterina Davinio at Biennale Venezia 2001 (Italy)

File - Electronic Language Festival 2001
Sao Paolo (Brazil) , A Virtual Memorial, Divisionistic Approach
Work: No answers

File - Electronic Language Festival at Curitiba City (Brazil)
A Virtual Memorial, Divisionistic Approach, Work: No answers

Biennale de Cerveira 2001 (Portugal)
digital works with R 2001: Never wake up

Media Art Festival Friesland 2001 (Holland)
Watch: seconds: forever

Circus 2001 Conference Glasgow (Großbritannien)
A Virtual Memorial

DMF2001 - Digital Media Festival Manila 2001 (Philippinen)
Moving Picture Collection

Computer Space 2001 Sofia (Bulgaria)
Personal presentation
Documenta USA - Museum of New Art - MONA Detroit (USA)
Casting a Net - McLean Project for the Arts (Virginia/USA)
Never wake up
Viper Media Festival Online Competition (Switzerland)
Screening- Seconds: Forever
Art on the Net - Postcagian Interactive Sounds (Japan)
Transience - an atonal composition

Pixxelpoint Computer Art Festival Gorizia (Slovenia) Compressed Affair

2nd Interpoetry Exhibition Sao Paolo (Brazil)
Never wake up, Identity of Color, Transience

4th International Meeting of Experimental Poetry Vortice
Buenos Aires (Argentina) Never wake up, Transience - an atonal composition

Net_working Watershed Media Centre Bristol (UK) and 4th
International Conference on Modern Technology and Processes for Art, Media and Design, Bangkok (Thailand)

e-mail: info@agricola-de-cologne.de
Country: Germany

Synopsis: Memorial project against the Forgetting and for Humanity is a NewMedia art project created mainly in Flash and
installed in Internet by media artist Agricola de Cologne since 1.01.2000. Central subject represent existential questions of human existance connected to \"Remembering-Repressing-Forgetting\".
It is an ongoing work in progress with a variety of aims.
One purpose is to keep vivid memories of global, local or personal relevance such as Holocaust, genocide, expulsion, persecution, catasptrophes like AIDS, perspectives on the future as genetics, misuse of power or behaviour and subjective experiences of individuals from all parts of our globe.
It is an interactive project on different levels, uses the Internet according to its own rules not only as a location or public space but also as a resource in different concerns and represents as a whole a symbol of collective memory. The project is continously changing. Each month a new project version is published:with new additions, changements in perceptions, technology and design.
The project reflects both physical and virtual world in different ways.
A virtual sculpture is developing and expanding like SPACE.
The link, this interactive component plays an essential role since by using links all the elements necessary for producing and creating associations become available from the internal database of the Memorial project (including thousands of items to be linked)and far above that from the database of the entire Internet.
The value of the links is rather like a \"JANUS HEAD\",
it can be good or bad, up building or destructive,dependent on the kind of content or meaning of the linked elements or sources or dependant on how the user intends to use the received informations.
The ambivalent feature of the links allows the user to perceive the project or parts/sections of it each time differently when visiting the site or elements. This is enforced by the fact that there is a new project version each month with different and new combinations of links and linked elements.
I would call these links \"Janus links\".
These kind of links are necessary for building the virtual sculpture
the visitor/user is actively involved in.

Transience - an atonal composition
http://www.nmartproject.net/agricola/mpc/trans/transience.html

Synopsis: An atonal composition is an interactive Flash composition
based on Agricola\'s poetic text, entitled \"Transience\" and musical compositions.
Links form the possibility for the user to create temporary compositions by using the existing text and music templates.
Links are not only used to make interactivity vivid, but also to initiate a variety of associations on different levels of perception simultaneously.
These are really \"best links\" because creativity belongs to the better world. Using these \"best links\" each user creates an unique art work of his own.
Animation, voice, music and sound performed, directed and produced by Agricola de Cologne.

Alex Galloway ( AKA MTAA with P. Erl )

Biography: MTAA (M. River & T. Whid Art Associates) is a
Brooklyn, New York-based conceptual and net art
collaboration. MTAA is also a real-time performance played
out on the Internet, in physical installations,
through print media and documentation, and miscellaneous
ephemera. Using aspects of conceptual art, popular culture
and real-time performance, MTAA creates a new manner of
dialogue between artist and audience. Find MTAA\'s online
artwork and documentation at MT Enterprises World Wide.
http://mteww.com

Alex Galloway is Director of Content & Technology at
Rhizome.org, a leading online platform for new media art. Alex
has created several computer art projects including the
networked screen saver Every Image. He is currently working
on a web-based artwork called Carnivore--after the FBI
software of the same name--that uses packet-sniffing
technologies to create
vivid depictions of raw data.

e-mail: mriver@mteww.com
Country: USA

Synopsis: MTAA\'s On Karara Update is a splash page for
Rhizome.org that automates the logic and process of the
conceptual artist On Karwara within the internet. Each day, a
unique page is generated that shows the current date. As one
scrolls over the date, three news headlines are reveled. The
head line are gather each day by an Info-Bot from on line new
sources. Also reveled beneath the date is the continuing
growing archive of each date/page. Along with the headlines
and the archive, a semi-fictional context/narrative is presented
by the artist. The On Karara Update, begun in 2001, will
continue generating new pages into the future without a
foreseeable end.

Andreas Schimanski, Angelika Middendorf & Norma Jeane

Biography: Not Submitted

e-mail: mail@schimanski.net
Country: Germany, Italy, USA

LOGO-N
http://www.schimanski.net/logo-n/index.html

Synopsis:
Logos are cultural codes. They pretend to express clear values
and propose possible identities. Within this project Logos are
dematerialized, as well as companies create them to
dematerialize products and work. The viewer, starting from a
\"cloud of pixels\", can decide to go through the surface back
to the multidimensional reality that lies behind.

Andy Cox

Biography: Together We Can Defeat Capitalism raises questions about early 21st Century capitalism and has some fun too.

e-mail: andycox@twcdc.com
Country: UK/US

Synopsis: Clone of Citibank's web site, produced in
collaboration with the Rain Forest Action Network's Global Day
of Action against Citibank. The site is fully operative (users
can open real Citibank accounts, etc), but hidden links take
users to information about Citibank\'s funding of projects that
destroy the environment, predatory lending, money laundering,
etc. The site was covered by the New York Times, Financial
Section.

Antonio Mendoza

Biography: Antonio Mendoza, the son of Cuban exiles, was
born in Miami, Florida. He was raised in Madrid, Spain. In
1983 he received a degree in Semiotics from Brown University.
In the fall of that year he moved to Los Angeles where he
hoped to land a job in the film industry. Instead, he landed on
a friend\'s couch and decided that a career as an artist was
more his calling. Eighteen years later, he still lives in L.A. with
his wife, two children and five working computers.

His art work ranges from classically inspired oil paintings to digital collages, lenticular images, video projections and interactive web pages. He has shown his digital and analog work in galleries in galleries and museums in Los Angels, San Diego, New York, Las Vegas, Houston, Zurich, Frankfurt, Sao Paulo, Seville and Madrid. His work has been reviewed by Artforum, New York Post, Glue, Wired, Axcess Magazine, Newsweek, Los Angeles Times, and several other cyber magazines.

e-mail: elvision@mayhem.net
Country: USA

Www.Subculture.com
http:// www.subculture.com

Synopsis: www.subculture.com is like the autistic
web paradise, full of information but stuck in
annoyingly repetitive patterns. it\'s alternatively
simple and complicated, discouraging and enticing,
enchanting and annoying, beautiful and ugly,
pointless and meaningful, organized and chaotic.
Some pages are like epileptic web seizures: loud,
retinal and disturbing, with data behaving in ways it
shouldn't be behaving. Others spew out recycled
sexual iconography like the surrealist collage
machine.

Armelle Aulestia

Biography: Armelle Aulestia is an artist living and working in
Paris.

Current works: digital video, photography, net art.

e-mail: armelle@aulestia.net
Country: France

Enregistrer1
http://www.aulestia.net/enregistrer1

Synopsis: This piece functions on the rhythmic alternation of
that which appears and that which diseappears.
An object, and a voice whispering uncertain words, dissolve
into each other or superimpose onto each other in an
imprecise way, in an incessant back and forth.

Enregistrer1 is elaborated on the idea of unrolling and on the
pleasure of sliding, of visual and resonant wavering, the game
of the compulsive gesture that starts the circle/cycleof
repetition, of the loop again, indefinitely free from alteration of
meaning.

Les Détails
http://www.aulestia.net/lesdetails

Synopsis: audio, language, animation.

"Les Details" deals with interactivity and delay time, visual and sound reversal or accumulation.

This piece is a play with words, sentences and sounds.

Brian Mackern

Biography: Brian Mackern [Montevideo-Uruguay]
http://www.internet.com.uy/vibri/autor.htm
http://netart.org.uy/

e-mail: vibri@internet.com.uy
Country: Uruguay

No-Content.org
http://no-content.org/

Synopsis: Reflections about links to content/no-content.
random links of preloaders that announces the data-loading
of the site no-content.org. It is, simultaneously, an aesthetic
investigation on the creation of reactive-interactive objects and
random audio surroundings, within the boundaries of minimum
possible.

Carlo Zanni a.k.a. beta

Biography:
****2001****
NEW YORK , Deitch Projects Brooklyn
5-6-7 Nov. 2001
\"Biennale\"
curated by Miltos Manetas

TIRANA, Tirana Biennial
National Gallery and Chinese Pavilion
September 14-15, 2001
Internet/Computer section >>>>>> www.newnewportrait.com

LOS ANGELES, Electronic Orphanage
SIGGRAPH NIGHTS

NEW YORK, FUN
2001 Rhizome OpenMouse™
www.e-sm.org + www.newnewportrait.com

****2000****
DETROIT, Museum of New Art
e-MoNA
curated by Jef Bourgeau

****1999****
NEW YORK, Postmasters Gallery
WAR (War Artists Bulletin Board )

e-mail: cz@zanni.org
Country: Italy

New New Portrait
http://www.newnewportrait.com

Synopsis: "The link is a reload of Fontana's cut, it is the third
dimension of the word. The word iconized itself and loses the
intrinsic and deep value. It is not important the linked word, but
the address where the word is linked." C.Zanni*
"As we know also an image can contain a link, and invite us to
a new click. With the "ICOn Portraits" every single face can
have this role.
A computer icon is a simple symbol, a "face" which recalls a
precise action; the underlying link is interchangeable,
changeable and temporary. The appearance doesn\'t coincide
anymore with the identity, which becomes nomad, elusive and
indefinite.
Every time the link gives a different meaning to the linked face,
adding a new point to its defined horizon.
" V.Tanni**

Christa Erickson

Biography: Christa Erickson is an interdisciplinary artist and writer who
investigates the politics, pleasures, and pains of spaces mediated by electronic technologies. She weaves together combinations of video, tactile materials, physical interface devices, performance, and the Internet in installations. She also makes work specifically for the web. Her individual and collaborative works have been presented widely, including galleries across the U.S., international media arts festivals, the Walker Art Center, the Institute for Studies in the Arts in Arizona, the California Museum of Photography, and the Banff Center for the Arts. Her paper \"Networked Interventions: Debugging the Electronic Frontier\" is included in a Routledge book due out this fall titled Embodied Utopias: Gender, Social Change, and the Modern Metropolis.She is Assistant Professor of Art at SUNY Stony Brook where she teaches electronic media.

e-mail: Christa.Erickson@sunysb.edu
Country: USA

Learning Distance
http://learningdistance.net

Synopsis: In an era of increasing communications and
globalization we are all attempting to relearn spatial politics.
A collapse of time and space causes some borders to blur and
others to be drawn more clearly. Dispersal for various reasons
makes many long for a nostalgic home that no longer exists or
may never have existed. Differences in point of view come to
the fore. Shared events, experienced or seen through media,
connect people in strange and difficult ways. Privacy has
disappeared.

\"Learning Distance\" is my attempt to broach this subject.
It references a childhood game; hopscotch, which is played
around the world from Thailand to Argentina. It is an
exhuberent dance. We are all children attempting to make
sense of change. Hopscotch began as childhood mimicry of
Roman soldiers in Britain and thus perhaps has an
uncomfortable relationship to colonial occupation. It is also a
game with a minimal sense of competition. Winning comes
through keeping your balance, not stepping across the lines,
and ultimately not falling.

The piece has two manifestations: a shockwave webpage and a
more animated projector file that can be projected on a
gallery/exhibition floor. Both utilize perl scripts on my server
that record images from webcams at regular intervals,
capturing patterns of movement from different parts of the world
(on streets and highways and via airplanes and boats).
Sometimes cultural differences are clearly visible. Sometimes
the patterns look similar. Obviously there are no such cameras
in many places. The piece randomly selects from 15 cameras
on 5 continents. It also selects from 15 words that resonate in
real and virtual spaces: public, private, community, home, site,
border, distance, link, speed, connection, memory, shared,
difference, and perspective

Mnemonic Devices
http://mnemonicdevices.net

Synopsis: MNEMONIC DEVICES is an installation with three
components: a web-based scavenger-hunt game, an
interactive seesaw video switcher, and a kinetic video
sculpture. Its website includes the webgame component and
documentation of the installation.

Photographs, home movies, and today\'s digital media inform
the way we remember and interact with one another. They
extend and even become our memories. MNEMONIC
DEVICES attempts to pose questions about patterns of
memory and interaction, contrasting electronic technologies to
age-old bodily methods. What is enabled and what is lost?
MNEMONIC DEVICES explores these questions in an
installation that resembles a media saturated playground.

The web-game examines the collective \"memory\" of the web.
It is a scavenger hunt game through the Internet using your
favorite search engine to find items related to \"memory,\"
\"connection,\" and corporate use of these themes. Two web
stations (laptops on opposite ends of a table that resembles
the seesaw) allow people to play the game with each other or
with people in remote locations. The game is played in pairs.

The most prominent component of the installation, a twelve-foot
seesaw, literally requires two peoples\' participation.
Remember the hard fall to the ground when your partner
dropped you long ago? The consequences are different when
your online partner drops you. Or are they? The seesaw acts
like a giant video switcher: the way the participants \"play\"
determines the sequence, direction, and speed of images
projected on an adjacent screen.

To echo the visual and conceptual qualities of the other pieces,
a four-foot tall sculptural pendulum with embedded video
elements completes the installation. Each arc of the pendulum
switches between live, closed-circuit images of the gallery play
space and pre-recorded images from turn of the century
playgrounds, when film began. In a sense, the pendulum
component creates a literal \"see-saw\" sway, a movement
between present and past.

Christian Barre

Biography: Have shown recently with "Le mois de la photo" in the subway. As shown in many galleries for ten years then
decided to work on problems relative to social changes...
Master in Visual art,
Grants from Canada Council for the arts
Grants from Conseil des Arts et des Lettres du Quebec
Privates Grants
Grants for the Université du Quebec ‡ Montreal
Grants from fond Canadiens d\'aide ‡ la recherche

e-mail: christianbarre@sympatico.ca
Country: Canada

Refléchir par Hasard, pour un Espace Public Agile
http://homepage.mac.com/christianbarre1/

Synopsis: The work has been done in three steps.. First one
has been to find people living in the streets and ask them to
\"claps\" in their hands in front of the camera. You have to
understand that in Quebec people applause for almost
anything....they are a good \"public\". The second steps has
be to develop a relation with part 1 of the work and to present it
on the web, in a \"designed fashion\" way. You have to
understand that i don\'t think that people on the street should
be put apart of are esthetics dilema... they have ideas very
close to ours about society. The third steps was to confront
the \"others.\" Here i decided to stick with magnet on luxury
car mini-cds containing the video.