Archive
Flusser Studies 08 – May 2009
 Introduction
Vilém Flusser,
The Gesture of Writing
Vilém Flusser,
Le geste d’écrire
Márcio Seligmann-Silva, De Flusser a Benjamin – do pós-aurático às imagens técnicas
Curriculum vitae
Abstract
De Flusser a Benjamin
Gabriela Reinaldo, O retrato de Rosa em Bodenlos
Curriculum vitae
Abstract
O retrato de Rosa
Annick Bureaud, Interview avec Fred Forest / Entrevista com Fred Forest
Curriculum vitae Fred Forest
Curriculum vitae Annick Bureaud
Abstract
Interview
Entrevista
Priscila Arantes, Mídia, gestos e sociedade. Diálogos entre Vilém Flusser e Fred Forest / Media, gestures and society. Dialogues between Vilém Flusser and Fred Forest
Curriculum vitae
Abstract
Mídia, gestos e sociedade
Media, gestures and society
Simone Osthoff, Dialogues Between Flusser and Young Media Artists: A Conversation with Mario Ramiro
Curriculum vitae Mario Ramiro
Curriculum vitae Simone Osthoff
Abstract
Dialogues
Grande queda © Mario Ramiro
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Queda magenta © Mario Ramiro
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Grande Queda [Big Fall] and Queda Magenta [Magenta Fall] are ‘Schlieren’ photographs (color Lasergrams), 140 x 110 cm each, 1995. This series of Lasergrams titled 'Light Turbulences' reveals symbolic images of bodies in movement, rising and falling amidst flames. The photographic images are not records of something invisible to the eye. They are means for the construction of a subjective narrative. Heat is not just represented as propagating waves, it reacquires the primordial and dualistic value of the element of fire: the fire of purification, the flame of life or as the fire of punishment, the blaze of destruction.
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Sich bügeln © Mario Ramiro
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Es brennt © Mario Ramiro
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| Sich bügeln, [from the German ‘bügeln’, to iron laundry, Ironing, smoothing oneself] and Es brennt, [It’s on fire] are Schlieren video stills. These videos are about two or three minutes each and were produced at the KHM, 1996-97. |
Simone Osthoff, Invisible in plain sight, and as alive as you and I: An Interview with Eduardo Kac
Curriculum vitae Eduardo Kac
Curriculum vitae Simone Osthoff
Abstract
Invisible in plain sight
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Eduardo Kac, “Natural History of the Enigma” was developed between 2003 and 2008, and first exhibited from April 17 to June 21, 2009, at the Weisman Art Museum in Minneapolis. Photo by Rik Sferra, courtesy of the artist. |
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Eduardo Kac, GFP Bunny, 2000, Alba, the transgenic fluorescent rabbit. Photo courtesy of Laura Marsiaj Arte Contemporânea, Rio de Janeiro. |
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Eduardo Kac, “Rabbit in Rio” is a series of public interventions in Rio de Janeiro realized during “Rabbit Remix,” Eduardo Kac's solo exhibition at the gallery Laura Marsiaj Arte Contemporânea, Rio de Janeiro, 2004. Photo by Nelson Pataro, courtesy of the artist. |
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Eduardo Kac, “The Eighth Day,” was developed during a two-year residency (2000-2001) at the Institute of Studies in the Arts, Arizona State University, Tempe. The piece brings together living transgenic life forms and a biological robot (biobot) in an environment housed under a clear 4-foot diameter Plexiglas dome. Photo by CameraWorks, courtesy of the artist.
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Eduardo Kac, “Genesis,” 1999. Transgenic work with artist-created bacteria, ultraviolet light, internet, video (detail), edition of 2, dimensions variable. Collection Instituto Valenciano de Arte Moderno (IVAM), Valencia, Spain. Photo courtesy of the artist. |
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Eduardo Kac, “Oblivion,” Biotope, 19 X 23" (48.2 x 58.4 cm), 2006, from the “Specimen of Secrecy about Marvelous Discoveries” series. Photo courtesy by the artist. |
Review of Signs of Life: Bio Art and Beyond edited by Kac
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