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 In
our techno cultural society there is a need for new domains of
expression that don’t create an outlined limit for the transavantgarde
of our day, offering endless possibilities to utilize modern technology
and communication in a community-oriented environment. Opportunities to
develop a global art market where the individual artists are happily
divorced from pressures of the tribal art market. In recent years, the
new means of expression are evolving rapidly and artists are supported
for refusing to be trapped in the predictable scapes or thought schools
of the past. The Art in Real Time Global Art Movement is a quality art
publishing and an interactive art competition for visual art, video,
animation, sound, music, essay, poetry and fiction, organized and
curated by André Russu. It integrates the multidisciplinary visual,
literary and audio creative production, and is the first interactive
global art event featuring contemporary artists on virtual online
exposure and publishing.
Moreover, in these early years of the digital and virtual a number of
web-sessions and online debates have sent significant ideas for the
discourse involving terms such as: virtual space, digital manipulation,
computer graphics, 3D structures, modules, PDF’s, .JPG’s, mode,
resolution, processor, worldwide, dot-com, all of which appear quite
often in approaches made by critics and artists, but also by the
scholars, designers, engineers and architects invited to collaborate. It
is an opportunity to experiment with the virtual art works, objects, and
installations designed by contemporary artists belonging to the new and
old generation. The series of the online collective art events generated
by a more or less experimental exhibitions which by its subject and some
of the works shown, make the transition towards another type of artistic
sensitivity and research. This opens the gates to a new stratified
cultural metaphor and to an eclectic trans-aesthetics virtual domain and
publishing.
The trans-aesthetics virtual domain is a change of cultural mentality
and aesthetic paradigm that occurs gradually over time. This is an
experimental art, which becomes gradually more elaborate to an almost
aesthetic ethos. Molded by optimism in this search for knowledge, in
some cases even positive enthusiasm bears specific features: the
rejection of traditional means of expression, such as painting, and a
certain uniformism could be the exploration of natural or artificial
materials in process of art making. The experimentation of certain new
artistic methods originate in scientific techniques or industrial
technologies, the interdisciplinary attitude and the specific ideology
that wish to shape the natural or social ambient by a symbolic
configuration of real life materials, or even by merging with industrial
design. This becomes a temptation and an attempt to create art in
everyday life, in “reality” and not exclusively in art terms, these
phenomena start a big demand to be community oriented.
www.ctrl28.com, www.medialworks.com, [www.artoteque.com,
www.artaddiction.net] and [www.worldofartmagazine.com] are windows into
the global art world for the 21st century art lover and critic, a place
for the artist to express himself as his central platform for the viewer.
A platform that is exclusively focusing on representing all techniques,
schools and trends open to all professional artists and beyond. This is
possible through curated exhibitions created for the purpose of reaching
as many people as possible. Since the seventies and eighties art has
been changing rapidly and effortlessly as many more of today’s artists
live the same experiences and vaster amounts of work are closely related
to the same world that we see around us as we become more globalized.
The work becomes an expression of internal and external factors of our
society and modern thought schools which are globally connected on a
scale that is both remote in time but also close to our own. Some
artists make their Online debut under the influence of the digital
experimentalism through the dot.com channels, the late echoes of pop art
and hyperrealism, deformed by the more recent experience of digital
painting: a relatively new online trend. It cannot be denied that, in
spite of the tribal cultural disintegration, the online art echoes
around the globe and is able to act as fermentation that is necessary to
provoke a diffused mutation of sensibilities which in the global
artistic environment is caused by specific frustrations and underground
tendencies.
On Medialworks.com, Ctrl28.com, Artoteque.com, ArtAddiction.net,
Mastersoftoday.com /M.O.T. or W.O.A. a single insertion is equivalent to
a publication and an exhibition which is transfiguring them into a
dynamic collaboration, never mooring the artists achievements in one
place as many art galleries do around the world. It is not a
question of condemning the current art affair in which things are run,
but to bring it forward into a dynamic ground where publishing and
exhibition coincide, with points of departure for the individual artist
that are clear but exist in real-time and in a virtual space with
unlimited points of arrival designed to best insinuate their goals.
Suited equally well for both emerging and well known artists alike. The
eruption of the new online trend is like an inevitable reaction against
the consumerist institution.
In spite of political constraints and economic decline which became
obvious in the past years, the experimental online avant-garde trend
maintains a certain pace, certain effervescence: there is a gap between
political decisions and their consequences in the cultural field, by
virtue of a certain creative passiveness which is slower in modifying
its mental and behavioral patterns. The members of the art community
continue their individual studies in everything natural, in the spirit
of which it transforming and emerging more organic and effectively
converting their creative impulses into educational programs which will
greatly stimulate the digital art field, particularly in the fields of
web design, computer graphic art, and video art. In various artistic and
cultural actions such as virtual or traditional, solo or collective ones,
help maintain the guilds dynamic drive and become in return models and
inspiration for debutant artists.
New media have augmented owing to enthusiasm and receptiveness of gentry
involved in different forms of the art field, essentially through
intense engagement and dedication to understanding new technology,
demand, and contemporary philosophies. Only those who are totally
indifferent to the new global culture phenomenon can omit or pass over
the development in art with new media and the advantages it brings.
Art is changing its own identity: it is becoming a way of a conceptual
communication that just produces effect however, requesting and
soliciting an effort of acknowledgment that is the exact contrary to the
deceitful appearance of its supposed “truths”.
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This, at the same time, creates difficulties for the artists as well as for the creative
management, and definitely creates difficulties for the fruition of
shown art works in galleries, museums or alternative spaces. The public
should be totally free to choose “how” to view, in accordance to its
real effective needs and desires.
Thanks to the outgoing fortitude,
this complex project has a deep significance for the global culture
through its dramatic change required by the computerization in art and
the transfer to online exposure over the traditional art exposure. This
project will continuously be considered and we will have the support and
confirmation of the public who is ready to experience a new art movement.
Exhibitions involving two or more academic disciplines based either on
very local problems or on the artistic process itself makes online
global art exposure an experimental event, bringing together under
related forms the representatives of various artistic and contemporary
idioms, visual, musical, and literary. Motivated by conceptualism which
deals more with culture than with pure visual, the exhibition are not
only the collective work elaborated by personalities from the fields of
culture, it is also the collective metaphor of an active and energetic
generation of artists through a virtual synchronicity with global
contemporary artistic movements, original initiatives that made
themselves known worldwide through this medium.
Virtually every important art magazine produces an electronic version
alongside, or instead of its printed issues, and these online versions
have largely replaced print in day-to-day use. The printed art magazine
that once made sense but now stands as a significant barrier to art
progress. ERSATZ _apr (art public relation) announced as a quarterly
printed art magazine will remain online, independent of the number of
readers or advertisers, because we believe there is a better way.
Everyone with an internet connection will be a click away from a
comprehensive online art information and exposure in ERSATZ_ art public
relation online global art magazine - a resource that will foster the
art progress, lead to more emerging and established artists, and ensure
no one will ever again be unable to see an important piece of art just
because the artists does not subscribe to a particular art magazine (who
is published in Art news, Art in America?, Art Forum?...).
Until recently, the cheapest and most efficient way to distribute art
information was by printing art magazines, catalogues or leaflets and
delivering them to newsstands, galleries, museums, curators, collectors
and art lovers. The cost of publishing a printed art magazine mostly
came from advertisements and by producing and distributing printed
pages, and naturally scaled with the number of readers and subscription
-based art business model that made good sense, and was reasonably
efficient and fair. With the rise of the internet, the sound premise of
this business model has vanished. The cheapest and most powerful way by
far to distribute published art work is the internet. In online
publication of new art and artists, all the costs intrinsic to
publication are spent in producing the original peer-reviewed, edited
and formatted copy of each work. With printing costs eliminated, and
distribution infinitesimally cheap, the costs of publication are now
independent of the number of readers. The virtual exhibition space is
exposure capable of reaching more than seven hundred thousand visitors
per month. Such extensive coverage is possible due to an exhibition
listing and advertisement in cotemporary global art publications and
online art galleries. Works displayed online reach thousands of
collectors, journalists, curators, artists, art dealers, museums, and
gallery visitors which until now has been an almost impossible feat to
read - for this to be embodied it took a lot of investment because
global exposure was hard and cumbersome to maintain.
I have reached an outburst of coverage and power in the art world
through a dynamic network that shares the same movement. Always
attentive to the sensibility of the artists, thus making indirect
cultural references that are deeply rooted in the subtle motives that
are translated in a single organic force, thus condensed and ready to
offer the possibility of limitless perpetual coverage, seen by an
extensive client base of artists, galleries, museums, curators,
journalists, art schools, collectors and the art lovers around the
world. This cultural exchange is directly distributed to over fifty
thousand international collectors, consultants, advisers, critics,
writers, curators, dealers, and other visual art professionals. This
achievement is best demonstrated by a database demographic which shows
us that it is truly an international affair in which 40% is in North
America, 45% in Europe, 25% in other locations (American, Australia,
Japan) etc...
However, statistically speaking, the number of artists willing to
participate in virtual events involving the experimental trend
drastically increase in comparison with the previous decade. Moreover,
the solo exhibitions of the most active artists who asserted themselves
earlier within this aesthetic front gradually show a significant change
of attitude. A kind of interiorization of the purely experimental
approach which occurs in the interest of research objects or the
exterior artistic process to the researching subjects and inner world.
The artistic act no longer consists of a purely aesthetical and
symbolical reality, but tries to visually configure certain models of
cultural archetypes or spiritual instances of the self. Thus, with
certain artists there is a sort of slow alteration of the initially
experimental impulse, a kind of spiritualization of the creative
experience, which seems to clear itself of the former virtual avantgarde
and cosmopolitan motivations to rediscover and project itself back into
the field of the local spiritual traditions. The exhibitions made in the
past years by Damien Hirsch, a British artist known for experimental
works involving animal parts and Gilbert & George proved influential in
the pioneering of this field. This shows the focused movement from a
more or less prospective vision towards a rather retrospective or
introspective one.
Synchronously with the well known names there are a lot of new talents
that will flourish in the future and they will eventually open new
perspectives in art. This portal aims to show the art world its
multifaceted resources and status: these are new lines of thought that
protect the development in our cultural structure. The traditional art
history and art theory valuations became gradually set aside. The new
generation use up most of their time on the internet therefore the depth
of thought is that online global art gallery will provide our target age
group through the freshness and vitality a thorough insight into
contemporary global art. This is an opportunity for the artists to
receive through comparison the confirmation of their artistic capacity
to express ideas in the stimulating field of media related arts.
Simultaneously their works represent an important component to the Art
in Real Time Global Art Movement art projects. |
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The new sensibility in art brought
with the new generation of artists who were emerged in this field during
the nineties share less and less the experimental attitude of artists
ten to fifteen years older. Although they begin their career in a
slightly timorous way and respect the industrious and energetic older
generation, which is natural that they imitate in the beginning, the
younger visual artists seem to feel less motivated by the prospective
type of visual research, which takes over ever larger slices of reality.
They enter the new centurie's cultural stage at a time of a drastic
artistical shutdown. In a stagnant social situation the young
generations of artists inevitably turns towards the individual world,
towards other values and functions of the creative acts. A big part of
this generation doesn’t attempt pure experimentalism, but experiments
with a new realism, a new sensibility expressed by choosing a rough
figurative style cultivating primitively existential or radically
eclectic themes populated by personal philosophies. Quite often reduced
to the mundane or purely biological life, combining an iconography with
mass-media or art history clichés. A new figurative style is created,
attracted by the expressionist attitude and by violent instinctive
colors done by sudden distorted gestures, with an oversized and
spectacular style but also by irony and ridicule. Undoubtedly, painting
is the favorite medium of this new wave of artists, who without having a
unitary aesthetic program shared ideas, and sometimes refused the same
ideas, outlining quickly and passionate trends in the art of the period.
The global art climate in the early 21 century’s became perceptible at
the level of the whole cultural artistic mentality. However, due to its
multiple implications, the term avantgarde and then the international
transavangard (*Achile Bonito Oliva), is sometimes replaced with related
terms like innovation and experiment. In other words, the avantgarde
inevitably becomes a type of experimentalism, thus, one might say, in
Gugliemi’s words that “experimentalism is the style of present day
culture”. After the effervescence of post modernism and the post
conceptualism, installations and performances questioned and rejected a
certain enhancing of the exposure notion and was gradually advancing,
bringing a multiform of Multimedia types, Digital, and Virtual. The new
online attitude can be understood as a definite refusal of the common
place art, opposed both to the current cultural and social affairs. The
internet exposure stands out as the most productive innovation worldwide,
from London, New York, Tokyo, Paris or Sydney as it’s an international
affair. There are today many collective online exhibitions which have
displayed or declared aesthetic programs of the new online generation.
It is quite relevant that online exposure and the digitalization became
the favorite trend foremost of the young artists, and also the whole
artistic generation worldwide. This is a sign that the misrepresented
visual discourse of “official” art is not longer important and
representative of the global movement in art. The potentialities of the
virtual creative act in its relationship with digital technology, nature
or society, cultivate more intensely the metaphorical values and
symbolism, either personal or widely spiritual of the artistic act and
its traces in space and in a global consciences. The harsher material
conditions become and the constraints imposed on society make the
artists prefer computer and techniques such photoshop and photography
processed art with various ways of manipulation.
Ctrl28.com, Medialworks.com, Artoteque.com and ArtAddiction.net online
exposure gives the freedom to choose a desired inclusion ranging from
visual arts,
music, and writing supporting all techniques and schools of thought, a
display of several chosen works that go through a rigorous selection,
whereas submitters need to pass two individual selections conducted by a
qualified reviewer of works. This new system offers dual qualities, a
substance both visual and intellectual for a wider range of people.
Curating shows and giving out information, exposure that transcends a
relationship rich in potential for other galleries and museums who wish
to advertise, likewise for sponsors. You could say that there only exist
three types of people, people who make things happen, people who see
what is happening, and people who are wondering what is happening. Is
there a right place for art? Our target audience ranges from galleries,
museums, collectors, art centers, art fairs, cultural institutions,
subscribers, and our worldwide global online audience. We show artwork
from professional artists only, as opposed to other websites who list
unselected works from a majority of non professional artists, and that
is the reason why we it is possible to integrate the passion to curate
such an extensive movement.
In addiction to publishing artists in their rightful place towards the
top, the online art gallery, which includes international artists,
provides a unique opportunity to build a thriving business via the
internet and unique art publishing projects. The art website provides a
network between artist and viewer, additionally our websites provides
facilities such as personal communication through forum based systems
for every individual artist which many of today’s peremptory galleries
dismiss and ignore that such a development is positive for art. This
mode of curating gives form to an enormous opportunity that chains
contacts and relationships to the extent of transfiguring them into
another more powerful position, where more art lovers are put into
contact with emerging artists, it is offered a glimpse into the person
behind the art, an open invitation to peruse their portfolios and
welcome an artistic dialog. The Art in Real Time project it is one of
the largest Global Art Movement projects on the internet within art
today, representing many talented and creative artists that continues to
make major contributions to the vocabulary of the new computer connected,
fast-paced action of the art scene.
Unpretentious multimedia actions and events with power of communication
and wide spread circulation makes it possible to sublimate frontiers and
participate in these global events, without their authors in
contemporary global art events, medial art annuals and biennials such as
Ctrl28.com, Medialworks.com, Artoteque.com and ArtAddiction.net.
André P. Rusu
Artists and Curator,
ctrl28.com / medialworks.com
London 09/01/2006 © |
