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Pattern//Antipattern: The Glitcha! platform

Paola Torres Núñez del Prado

The Glitcha! project consists of three parts: a virtual platform (website + Facebook group + blog) an itinerant Glitch Art exhibition, and a series of theoretical texts analyzing the sociopolitical implications of Glitch Art, starting with the upcoming text to be published in the January edition of Glitchet, that takes as case-study Peruvian Glitch/Error Aesthetics. Artists from places such as Mexico, Peru, Sweden, Rumania, Greece, Turkey and U.S. have been given the opportunity to interact, discuss, and show their own (visual) research on the subject.

Above all else glitch art is the art of inducing error artifacts in visual or audio data. In fact, the etymology of ‘glitch’ has as much to do with ‘failure’ as it has to do with ‘technical problems’ which may or may not be of a digital or electronic nature (1). The Glitcha! platform was generated from an intentional rupture: Paola Torres has been researching on the generic concept of “pattern” since 2012, leading to varios art works and solo shows, the most recent one in 2015, called Perennial Patterns, Liquid Matrices, that linked design patterns in traditional societies and concepts found within Information Technologies.

Comprehension through Creative Destruction

A glitch could be taken then as an irruption, a breaking down of a pattern or system. In such a way, it’s the other side of one same coin. Referring to Glitch Art and its origins, Rosa Menkman, important Glitch Aesthetics theoretician, states:

“While most of these artworks do not have a lot in common, all of them do show that this is the product of an elitist discourse and dogma widely pursued by the naive victims of a persistent upgrade culture (…). In the future the consumer will pay less for a device that can do more, but at the same time will reach a state of obsolescence faster. This quest for complete transparency (the perfect, invisible interface) has changed the computer system into a highly complex assemblage that is hard to penetrate, and sometimes even completely closed off. (…) The user has to realize that improvement is nothing more than a proprietary protocol, a deluded consumer myth of progression towards a holy grail of perfection.” (2)

Glitch art would then exist as a reaction that questions both the limits of a particular digital system (computer, smartphone, etc) as well as the global socio-technological system, where errors on a smaller scale (i.e. the particular) would be a transcalar mirror (mirror in the sense described by Danto(3)) of failures within our current system of “technological dependence and constant need to upgrade”.

(1) Zimmer, Ben, The Hidden History of Glitch, for Visual Thesaurus, https://www.visualthesaurus.com/cm/wordroutes/the-hidden-history-of-glitch/

(2) Menkman, Rosa, Glitch Studies Manifesto, in Video Vortex Reader II, Institute of Network Cultures, http://art310-f12-hoy.wikispaces.umb.edu/file/view/Glitch+Studies+Manifesto+rewrite+for+Video+Vortex+2+reader.pdf

(3) Danto, Arthur C. 1981. The Transfiguration of the Commonplace.

Paola Torres Núñez del Prado explores notions of interpretation, translation, misrepresentation and perceptual cross-modality by the act of going beyond the “observing of art” through interactive painting, sculpture and video-art.
She has been part of art shows in Stockholm, Malmo and Norrkoping in Sweden, Lima, Cuzco and Arequipa in Peru, New York, Albuquerque and Florida in U.S.
She has won the Arte.mov “Midias Locativas Amazonian Ecorregion” Prize, and have been Finalist in multiple art competitions.Paola Torres Nuñez del Prado holds an M.A. from The Royal College of Art, Sweden and an undergraduate degree in art at Hunter College, City
University of New York (2003-2004).

Nefeli Oikonomou: Pracrising Transitions (Practicing for Crisis Art Initiatives)

‘Pracrising Transitions’ raises questions about ways of dealing with crises and it amplifies itself through “pracrising”-­‐ Collaborative, discursive practicing for crisis. The research expanded through 4 locations: Sweden, Greece, Uruguay and Argentina and it will be exhibited as a mini-­‐Festival inviting different artists, disciplines and audiences.

Nefeli Oikonomou is working as a performer and has also been creating her own choreographic work since 2006. After her education in Greece and Sweden (BA in Dance, Design Diploma and MA in Choreography, Doch) she is searching for challenging ways to integrate knowledge from different fields and facilitate exploration for democratic choreographic processes. Her experience on both presenting in various theaters and teaching in different professional schools feed her need to exchange, research and display. She creates by questioning, re-orienting or dis-orienting norms and her work is characterized with endless curiosity for critical thinking and innovative approaches to movement.

Project description PDF: Nefeli project 1

More about Nefeli’s project>

 

Anne Pfennig: DISHCOURSE – Interdisciplinary dinner talks

‘DISHCOURSE’ is a series of dinners, inviting practitioners from different creative disciplines into private locations in Sweden, Germany and beyond. The project functions as an informal social platform, enabling and exploring discursive encounters for interdisciplinary exchange within the fields of art, architecture, crafts, design and beyond. The project was initiated in spring 2015 by the course participants Anne Pfennig, Jonatan Lennman and Johanna Tysk. Since autumn 2015 Anne Pfennig is developing the format independently. For each upcoming DISHCOURSE she is collaborating with partners of different professional and local contexts. Together with the ‘co-host’ and related to his/her professional practice a (local) focus of interest is worked out. Based on the topic a set of guests, living (and working) in the direct district or city, is invited to the co-host’s home or work space to share a common meal and conversations. www.aboutDISHCOURSE.wordpress.com

Anne Pfennig M.A. works as an art mediator, cultural producer and organiser in Germany and Sweden. Recent locations of her education and practice are universities, museums, art-spaces, foundations and cultural projects in Stockholm, Hamburg, Berlin, Bremen and Oldenburg. Passionate about the fields of art, architecture and design her interests lie in the topics, practitioners and projects at the intersections of these disciplines. Thereby she tries to create space and moments for constructive dialogue, sharing knowledge and collaborative experience. Within professional contexts and beyond. Between practitioners and the broader social sphere.

Anne Pfennig_project-proposal_OD 2015_revised_status 15.11.15

 

Johanna Tysk: KOKO Labs

During the course of her studies in “Organizing Discourse”, Johanna aims to establish and develop KOKO Labs – a transdisciplinary conjunction point of art, design and the social sphere, centered around her own practice. Her aim is to grow KOKO Labs into a broader platform for knowledge exchange and reflection, highlighting the role that art, design and interdisciplinary action and conversation can play in finding sustainable strategies to tackle the social challenges of our times. The platform will be launched as a website collecting and presenting her work, as well as a publication, inviting a range of professionals within these fields to a cross-disciplinary reflection around the need for new thought models, processes and strategies when addressing complex challenges connected to their fields.

Johanna Tysk, based in Stockholm, operates within and across the fields of art, design and social work.

Johanna received her B.F.A. in Graphic Design from Savannah College of Art and Design in Atlanta in 2007. Her early professional career includes digital advertising and design for ad agency Publicis Modem in New York, as well as art direction, branding, graphic design and illustrations for a wide range of freelance clients in Stockholm. Clients ranging from national media companies to independent artists and start-up children´s brand Tröstisar, that today sells their first invention Cuddly band-aids in fourteen countries, and has received numerous awards in the US. Since her return to Stockholm in 2008, Johanna has had a strong engagement in grass roots social movements like Love Tensta and StreetGäris, where she has explored strategies for social transformation through new forms of organization and communication.

In recent years, Johanna´s practice has moved to encompass art and social work, with an expanded notion of design as a process, an approach and a frame work for participation and project management. In 2012, she organized the week-long festival Creative Call, where she connected local suburban groups and established institutions like Moderna Museet and Kulturhuset, to a multidisciplinary group of artists representing the urban creative culture of Atlanta. She has also initiated an on-going project using theatre and theatrical exercises to explore structures and relations connected to issues of immigration and integration, and has lead a number of collective mural paintings with children and youth in collaboration with social practitioners Stadsmissionen and Folkets Hus Fisksätra.

Project description: KOKOLABS_projectproposal_151129

 

Marina Turmo: Building Ideas – Logbook

My main focus is research on the power that a setting has to give shape to our thoughts, memories and daydreams, consequently to our work. Isn’t the work somehow a materialization of a thinking process?

Through the years, I have come to realised the importance I give to my notebooks and diaries. I put a lot of care and thought on them. I craft them as if they were a magazine or book – only for me. These notebooks were a constant throughout my work regardless of the place I was in. And looking back I came to realize that I had filled them up with what Bachelard would call “the HUT DREAM” (natural attraction towards an enclosed center).

Therefore I decided (encouraged by some reading on the topic) to dare and create my own cabin. Research it by experiencing it. Using my body and mind to create this place (write, draw or build).

For now I envision working on a multilayered text that will eventually take me somewhere else…

Marina Turmo Born in Holland, but raised in Madrid, Spain and now based in Stockholm. With an education in Fine Arts, and a passion for learning, is taking part now of the Masters Program in Visual Communication, in Konstfack, program with a focus on norm critique. Her interests are diverse, but all connected in one aspect: storytelling.

More information about Marina’s project >Turmo_building-ideas-logbook

Maria Karin Walczuk – “Concrete Times, The Bridge Life at RCS” – A Documentary Film

Documentary filmmaker Maria Karin Walczuk has gained access to an “illegal” skatepark group in the Stockholm city, where middle-aged skaters constitute the core group. They artistically expand upon this personalized locale every Saturday, allowing other skaters to join their growing purpose – to become an “art project,” and eventually be legalized. For the past two years they have taken care of this run-down area under a bridge, creatively challenging themselves and their pockets so that they can have a place to call their own.

Maria Karin Walczuk is a young filmmaker who in these past years has focused mainly on documentary work as her cardinal passion and personal form of activism. Originally from the states, specifically Hawai’i – Walczuk has lived all over Europe, but now considers Sweden her real creative base. Pursuing studies that challenge her artistic practice, Walczuk continues to grow, absorbing new sources of inspiration with insightful stories to share.

Check out this short clip! – RCS Sneak Peak