Bookchin Natalie

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NATALIE BOOKCHIN

BIOGRAFIA

Natalie Bookchin Ã¨ un'artista che vive a Los Angeles dove insegna alla California Institute of the arts. Lei esibisce i propri lavori sia in America che in Europa, ma soprattutto anche sul cyberspace. Infatti, Natalie Bookchin Ã¨ un'artista che lavora con internet, con i computer games e altre forme di netart. Dal 1998 al 2000 fu membro del Collettivo RTMark e ha spesso collaborato con altri artisti, come Alexei Shulgin, Heath Bunting, Jin Lee and Lev Manovich. Nel 2000/2001 Ã¨ stata premiata per il progetto di sviluppo del Creative Time, Media Center for Art and Design a Barcellona. Scrive ancher in numerosi giornali inclusi il New York Times "on e off line" e ArtForum.

OPERE

2003

British Tate Museumâs Online gallery (November)

The Centre For Contemporary Photography, Melbourne, Australia

Whitney Museum of American Art 17e Rencontres VidÃ©o Art Plastique, Centre dâArt Contemporain de Basse-Normandie

Third Text: images + media, the City University of Hong Kong/ the Hong Kong Film Archives, Hong Kong

the Electronic Language International Festival, Cultural Institution and Museum OEPaÃ§o das Artes, SÃ£o Paulo, Brazil

Art of the Encyclopedic, Carnegie Art Center, Buffalo, NY

Transmediale.03-Lounge, Berlin, Germany

Animations, KunstWerke, Berlin, Germany

2002

Net.narrative, SF Camerawork, San Francisco, CA

Second International Art Biennial, National Museum of Fine Arts, Buenos Aires

Begin Game, Leon, Spain

Game Room, Villette NumÃ©rique, La Villette, Paris

In Vitro / In Vivo, Art for Human Rights Festival, National Hellenic Research

Foundation, Athens, Greece

Gamer Lounge, Edith Russ Site for Media Art, Oldenburg

Metapet Launch, Museum of Contemporary Art, Pacific Design Center, LA

Fetish: Human Fantastic, the Borusan Art Gallery Istanbul, Turkey

Metapet Sneak Preview, presented by Creative Time, Remote Lounge, NYC

Hypertekst, Mobile exhibition, Flemish-Brabant, Belgium

Out of True, The University Art Museum, Santa Barbara, CA

2001

The Cultural Space, Center of Photography, Santa Cruz de Tererife, Spain

seARchT Engines: di(sin)formation, Video Festival of Pamplona, Spain

Art Futura, Center for Contemporary Culture, Barcelona, Spain

Mediarama 2001, Andalusian Center for Contemporary Art, Seville, Spain

Animations, P.S.1 Contemporary Art Center, Long Island City, NY

Link_Age, Video Brazil Festival, Sao Paulo, Brazil

Game Show, MASS MoCA, North Adams, Massachusetts

Double Life, Generali Foundation, Vienna, Austria

The e-Media Gallery, Centre for Contemporary Photography, Melbourne, Australia

Short Stories, Fabbrica del Vapore, Milan, Italy

The Altoids Curiously Strong Collection, The New Museum, NY

Installation, La Compagnie, Marseille, France

Inter media Exhibition, The Univ. Art Gallery, Univ. of Denver Central Michigan Univ.

Ovni Convocatoria, Tenerife, Spain

2000

Video Festival, Navarra, Spain

Dystopia + Identity in the Age of Global Communications, Tribes Gallery, NYC

Interferences Festival, Belfort, France

Paradise Now, Exit Art, New York City

traveling to University of Michigan Museum of Art, The Tang Teaching Museum Art Gallery at Skidmore College Carnegie Mellon Tulane University

Liquid hacking Workshop, Kunstverein Nuernberg, Germany

Over_Game, the Netherlands Media Art Institute, The Netherlands

Constant-Verbindinger-jonctions 4, Brussels, Belgium

New Media Space, Brussels 2000,Belgium

Tenacity, Shedhalle, Zurich, Switzerland

University Art Gallery, Johannesburg, South Africa

Freestyle Festival, Terrassa, Spain

Beachwood Center for the Arts, Beachwood, Ohio

Fylkingen, Stockholm, Sweden

<img src> Williamson Gallery, Pasadena Art Center, California

Feedback, Union Gallery, State University of New York, Stony Brook

Shift-Ctrl: Computers, Games and Art, Center for Art and Technology, UC, Irvine

Art Entertainment Network, Walker Arts Center, Minneapolis, MN

Whitney Biennial (with Â®â¢ark), Whitney Museum of American Art, New York City

1999

Game Show, Bellevue Art Museum, Bellevue, Washington

Viper, International Film, Video and New Media Festival, Luzerne, Switzerland

The Self, Absorbed, Bellevue Art Museum, Bellevue, Washington

Come into my Millennium, Melbourne International Film Festival, Australia

Cracking the Maze, SJSU, CADRE Center http://switch.sjsu.edu

Net_Condition, ZKM Center for Art and Media, Karlsruhe Germany

The Altoids Curiously Strong Collection, traveling to: Clementine Gallery, New York City Centre Gallery, Miami-Dade Community College, Miami Florida insideArt, Chicago, Illinois Robert Berman Gallery, Santa Monica, California San Francisco Art Institute

2nd International Show of Art in CD-ROM, Media Centre of Art & Design, Barcelona

Amour-horreur, La Centrale, MontrÃ¨al, Canada

Contact Zones, Cornell University, New York traveling to: Hobarth and William Smith College, Geneva, New York National Gallery of Photography and Multimedia, Mexico City, Mexico Robertson Media Center, University of Virginia, Charlottesville. Nickle Arts Museum, the University of Calgary Leonardo Electronic Almanac Gallery, http://mitpress.mit.edu/LEA

Digital Documentary: The Need to Know and the Urge to Show, p_Arts, MN

1998

PandÃ¦monium 1998, London England

Ars Interruptus, Video Festival, Pamplona, Spain

SEAFair 98, Center for Computer Arts & Soros Center for Contemporary Arts, Skopje, Macedonia

Ave.Com, Art for the Computer, Arnheim, The Netherlands

European Media Art Festival, OsnabrÃ¼ck, Germany

Beyond Interface, Walker Art Center, http://www.yproductions.com/beyondinterface/

Lovebytes Digital Arts Festival, Sheffield England

Viper, International Film, Video and Multimedia Festival, Luzerne, Switzerland

VidÃ©oformes, Video et arts Ã©lectroniques, Clermont-Ferrand Cedex, France

1997

Ciber@RT III, Valencia, Spain

Installation, ISEA 97, Chicago, Illinois

Re-Inventing the Box, Betty Rymer Gallery, School of the Art Institute of Chicago

Art at the Anchorage, Brooklyn Bridge Anchorage, Creative Time, Brooklyn, NY

Signs for Rottweil, Kunst Forum, Rottweil, Germany

Gramercy International Art Fair, Gramercy Park Hotel, New York City

The Electronic Muse, University State Museum, Washington State University Magazine, Spot Gallery, New York City

Limn Gallery, San Francisco, California

Techno Seduction, Cooper Union, New York City

Postmasters Digital Projects, Postmasters Gallery, New York City

1996

New York Digital Salon, Visual Arts Museum, New York City

Postmasters Gallery, New York City

The New York International Video and New Media Festival, New York City

The Bridge, Siggraph 96 Art Show, Contemporary Arts Center, New Orleans, LA

1995

Photography after Photography, Aktionsforum Praterinsel, Munich, Germany traveling to: Kunsthalle, Krems, Austria Stadtische Galerie, Erlangen, Bavaria, Germany Branderburgische Kunstsammlungen, Cottbus, Germany Museet for Fotokunst, Odense, Denmark Fotomuseum, Winter, Switzerland Finnish Museum of Photography, Finland Institute of Contemporary Art, Philadelphia Adelaide Festival, Australia

Faculty Exhibition, Syracuse University, Syracuse, NY

Conceptual Textiles, John Michael Kohler Arts Center, Sheboygan, Wisconsin Installation, Southern Exposure Gallery, San Francisco, California

1994

From Head to Toe, Longwood Arts Gallery, Bronx, New York

Visual Arts Faculty Biennial, University of Maryland Baltimore County

Maryland on View, Maryland Art Place, Baltimore, Maryland

1993

Installation, School 33 Art Space, Baltimore, Maryland

1992

Visual Arts Faculty Biennial, University of Maryland Baltimore County

Open Studios, Whitney Museum Independent Study Program, New York

Drawing New Conclusions, Betty Rymer Gallery, School of the Art Institute of Chicago

Artists Space Benefit, Artists Space, New York

Malibu: Myth and Reality, Bess Cutler Gallery, Santa Monica, California

Speak, Randolph Street Gallery, Chicago, Illinois

1991

Warp and Woof, Comfort and Dissent, Artists Space, New York

Comfort, Christopher Grimes Gallery, Santa Monica, California

Playing House, One Person Exhibition, Franklin Furnace, New York

1990

Gigantic Women, Miniature Work, Gallery 2, School of the Art Institute of Chicago

1989

Gallery 2, School of the Art Institute of Chicago

1988

Photography as Unfaithful Witness, NAME Gallery, Chicago, Illinois

1986

Small Works Show, BACA Downtown, Brooklyn, New York

MUSEI

Adelaide Festival, Australia

Aktionsforum Praterinsel, Munich, Germany traveling to:

Andalusian Center for Contemporary Art, Seville, Spain

Art for Human Rights Festival, National Hellenic Research

Art for the Computer, Arnheim, The Netherlands

Art Gallery at Skidmore College

Artists Space, New York

Beachwood Center for the Arts, Beachwood, Ohio

Bellevue Art Museum, Bellevue, Washington

Bess Cutler Gallery, Santa Monica, California

Betty Rymer Gallery, School of the Art Institute of Chicago

Branderburgische Kunstsammlungen, Cottbus, Germany

British Tate Museumâs Online gallery

Brooklyn, NY

Carnegie Art Center, Buffalo, NY

Center for Contemporary Culture, Barcelona, Spain

Center of Photography, Santa Cruz de Tererife, Spain

Centre for Contemporary Photography, Melbourne, Australia

Christopher Grimes Gallery, Santa Monica, California

Clementine Gallery, New York City

Conceptual Textiles, John Michael Kohler Arts Center, Sheboygan, Wisconsin

Contemporary Arts Center, New Orleans, LA

Cooper Union, New York City

Cornell University, New York traveling to: Cultural Institution and Museum OEPaÃ§o das Artes, SÃ£o Paulo, Brazil European Media Art Festival, OsnabrÃ¼ck, Germany

Fabbrica del Vapore, Milan, Italy

Faculty Exhibition, Syracuse University, Syracuse, NY

Finnish Museum of Photography, Finland

Fotomuseum, Winter, Switzerland

Generali Foundation, Vienna, Austria

Gramercy Park Hotel, New York City

Hobarth and William Smith College, Geneva, New York

Institute of Contemporary Art, Philadelphia

Kunst Forum, Rottweil, Germany

Kunsthalle, Krems, Austria

Kunstverein Nuernberg, Germany

KunstWerke, Berlin, Germany

La Centrale, MontrÃ¨al, Canada

La Compagnie, Marseille, France

Longwood Arts Gallery, Bronx, New York

Lovebytes Digital Arts Festival, Sheffield England

Maryland Art Place, Baltimore, Maryland

Media Centre of Art & Design, Barcelona

Melbourne International Film Festival, Australia

Miami-Dade Community College, Miami Florida

Museet for Fotokunst, Odense, Denmark

Museum of Contemporary Art, Pacific Design Center, LA

National Gallery of Photography and Multimedia, Mexico City, Mexico

National Museum of Fine Arts, Buenos Aires

New Media Space, Brussels 2000,Belgium

New York Digital Salon, Visual Arts Museum, New York City

Nickle Arts Museum, the University of Calgary

One Person Exhibition, Franklin Furnace, New York

Open Studios, Whitney Museum Independent Study Program, New York

P.S.1 Contemporary Art Center, Long Island City, NY

Pasadena Art Center, California

Postmasters Gallery, New York City

Randolph Street Gallery, Chicago, Illinois

Robert Berman Gallery, Santa Monica, California

Robertson Media Center, University of Virginia, Charlottesville.

San Francisco Art Institute

School 33 Art Space, Baltimore, Maryland

School of the Art Institute of Chicago

SF Camerawork, San Francisco, CA

Small Works Show, BACA Downtown, Brooklyn, New York

Southern Exposure Gallery, San Francisco, California

Spot Gallery, New York City

Stadtische Galerie, Erlangen, Bavaria, Germany

The Borusan Art Gallery Istanbul, Turkey

The Centre For Contemporary Photography, Melbourne, Australia

The Netherlands Media Art Institute, The Netherlands

The New Museum, NY

The New York International Video and New Media Festival, New York City

The Tang Teaching Museum

The Univ. Art Gallery, Univ. of Denver Central Michigan Univ.

The University Art Museum, Santa Barbara, CA

Tulane University

University Art Gallery, Johannesburg, South Africa

University of Maryland Baltimore County

University of Michigan Museum of Art,

University State Museum, Washington State University

Video and Multimedia Festival, Luzerne, Switzerland

Video Brazil Festival, Sao Paulo, Brazil

Video Festival, Navarra, Spain

Video Festival, Pamplona, Spain

Walker Art Center,

ZKM Center for Art and Media, Karlsruhe Germany

BIBLIOGRAFIA

2002 âBetween Two Worldsâ¿, Ministry of Education, Culture and Sports, Spain âIntroduction to Net Art,â¿, Connections: Art, Network, Media (National School of Fine Arts) edited by Nathalie Magnan and Annick Bureaud âsearch+curatorial+models,â¿ SWITCH, SJSU, CADRE Center http://switch.sjsu.edu 2001 Interview for Whatâs your story at eatthesewords.com âFor the Love of the Gameâ¿, Artbyte Magazine, Nov-Dec Interview for Crumb New Media Curating Resource, Website and CD-ROM 2000 Interview for The Second International Digital Art Festival (IDAF) Seoul, Korea Interview in Art for Networks, BBC Online November, 2000 "The Female Question" real [work] Catalogue, the Werkleitz Biennale, Germany Project in Johan Grimonprez's in Inflight Magazine, CANTZ, verlag, Stuttgart RTMark Web Watch, Artbyte Magazine

1999 Introduction to net.art (1994-1999)

1998 Respondent, "Shock of The View," Walker Art Center http://www.walkerart.org/salons/shockoftheview/object/sv_obj2_bookchin.html "Heath Bunting" Olia Lialina's The First Real Net.Art Gallery http://art.teleportacia.org/ 1996 "The Databank of the Everyday," Leonardo, Volume 29, Number 5, 1995 "Databank of the Everyday," Visual Proceedings, Siggraph 96 1994 Contribution to A Wretch Like Me, White Walls, A Journal of Language and Art (Fall- Winter) 1992 "Bifocal Borders: A Collaboration," Art Papers (January/February), pp. 40-1.

SITO WEB

POETICA

Per parlare della poetica di un personaggio come Natalie Bookchin Ã¨ necessario inserirsi all'interno della sua produzione. Lo faremo prendendo in considerazione tre dei suoi lavori maggiori e piÃ¹ interessanti, che segnano un percorso deciso nella sua carriera e ci permetteranno di comprendere il pensiero di questo grande personaggio. In seguito ad esperienze fatte con la fotografia numeric, attorno alla metÃ degli anni novanta, la Bookchin si interessa alle tecnologie piÃ¹ recenti (in particolar modo Inernet e il CD Rom come supporto), che le servivano come fonte d'ispirazione per i suoi discorsi critici. E' nel 1996 che realizza un CD-ROM interattivo, "The Databank of the Everyday, che si basa su delle fotografie del corpo umano, su delle azioni e dei movimenti banali. Quest'opera, come sosterrÃ la stessa Bookchin, tratta la morte della fotografia nell'epoca elettronica, non essendo altro che un dato supplementare in una base di dati. Il progetto si fonda sia su una base di dati informatizzati che in un catalogo fotografico. Stando alla retorica attuale sui computer e le sue promesse di una circolazione infinita di informazione, Databank presenta la banca di dati ultima, una banca dati che poggia sulla vita stessa. Nel 1997, Bookchin attiva un'incursione nel campo delle opere mediatiche e della videografica interattiva; e lo fa grazie a Marking Time. In una piccola stanza, un testo viene proiettato su un muro, lettera per lettera e descive le attivitÃ di tre prigionieri durante i quattro giorni che precedono le loro esecuzioni in un penitenziario dell'Arkansas.Il visitatore Ã¨ invitato a sedersi a un tavolo dove si trovano un computer e un monitor, di fronte al testo proiettato al muro. Il visitatore puÃ² navigare sul volto di uno dei prigionieri attraverso lo schermo, mentre il computer registra ogni clic e mutamento. Ne risulta allora uno studio del movimento alla stregua di un disegno astratto. Il visitatore Ã¨ nello stesso tempo ispettore ed ispezionato, esercitando un controllo sul corpo del prigioniero mentre il computer capta tutti i movimenti.L'opera - sostiene la Bookchin - Ã¨ ugualmente una riflessione sulla capacitÃ del computer nello scrutare e nel registrate allo stesso tempo le scelte e i movimenti dell'utilizzatore; questo per una comparazione col modello del prigioniero/guardiano di prigione. The Intruder (1999-2000), invece Ã¨ il suo primo gioco Internet. The Intruder Ã¨ un adattamento sperimentale di una novella di Jorge Luis Borges. Primo progetto del genere, The Intruder Ã¨ una nuova forma ibrida di opera narrativa a cavallo tra i giochi sul computer e i videogiochi delle gallerie d'attrazione, del cinema e della letteratura. Adottando il formato e il simbolismo di un gioco informatico o videogioco, questa opera tratta sia di politica che di stereotipi sessuali messi in scena nel tradizionale scenraio del videogioco. a Bookchin costringe il lettore a giocare per proseguire nella narrativa lineare, assumendo i panni del player che deve sparare, combattere, afferrare e scontrarsi con gli oggetti. La forma dell'arcade si fonde con la letteratura che con i suoi contenuti riesce a filtrare verso il pubblico ludico, non sempre pronto a fruirne. Dall'analisi di queste tre opere emergono molti tratti interessanti relativi al lavoro e al pensiero della Bookchin. CiÃ² che colpisce Ã¨ come il suo intento sia sempre quello di coinvolgere all'interno delle sue opere il visitatore/spettatore. Ricerca in loro un ruolo attivo, la capacitÃ di interagire appieno con l'opera, portandola verso dei luoghi che non erano neanche stati presi in considerazione in precedenza. Qui sta la forza dell'attivismo che troviamo nella Bookchin: il visitatore da semplice spettatore/osservatore diviene partecipe all'interno dell'opera, interagisce, diviene lui uno dei protagonisti.