With different scales – the planetary ( Afroditi Psarra and Audrey Briot’s work), aboriginal ( Suzanne Kite), the bacterial and dust and particles of matter (Klaus Speiss, Alice Jarry, Guillaume Cousin), the human scale/body ( Hugo Solis), that would only confirm that humans are not the center of the universe, nor the only important creature on Earth, as the coronavirus has already reminded us. This includes work by Adriana Knouf, who sent her hormones to the ISS and actively engaging with the ISEA2020 theme ‘Why Sentience?’. The ‘real-life’ exhibitions would have resembled a spaceship landing, with the viewers gathering to view from above.
PRINTEMPS NUMERIQUE SERIES
The works we had selected were highly sensorial and as was said in the curatorial text on the site, we knew nothing would replace the experience of those works with our bodies… so we decided instead to ask all artists representing installations to help us prepare a series of mini-documentaries, so they had the chance to talk to present their works to ISEA delegates at a discursive level, as we lost the experience of the work without an inability to walk freely into a gallery. How do you make these more experiential than the usual online format? The art programme has just been announced. All systems have limits, we thought a series of zoom events would feel ‘fractured’ scattered, and so with the platform we are using – Swapcard – you don’t need to go anywhere, everything happens at the same time, and you can easily connect with anyone. Then we devoted days and months to find the best platform that could create a sense of ‘eventfulness’ and that would allow different forms of communication and networking. So we decided to be reactive, and our ‘bet’ was to go 100% online. We had to adapt, in March, because we knew a second wave of Covid-19 would happen, and that would have been the end of it all. We knew participants and the ISEA international community highly values the getting together, the feedback that follows the presentations, the connections and collaborations that can grow from the symposium.
How has ISEA2020 had to adapt to the new lockdown situation in Quebec? and ‘Speculative Cultures: A Virtual Reality Art Exhibition’, curated with Tina Sauerländer at Anna-Maria and Stephen Kellen Gallery, Parsons School of Design, New York in 2019. Her recent exhibitions have included Franco Mattes, ‘What Has Been Seen’ at PHI Foundation for Contemporary Art, Montreal, Nov. She was, among other things, the artistic director of the 12th edition of The HTMlles Festival: Terms of Privacy in 2016 and co-artistic director of Transitio-mx 06, the media art Festival held in Mexico City in 2015. When Erandy Vergara, from Mexico City, is not directing an ISEA, she curates, investigates, reads and writes about contemporary and media art with a particular interest in recent remix cultures, the strengths and downfalls of science and technology, decolonial uses of media, critical histories of virtual reality, and the aesthetics and ethics of participation. ISEA2020 will be online from October 13-18, 2020.
You can also subscribe now.By Rob La Frenais On the eve of the opening of ISEA2020 in Montreal, Makery spoke to Erandy Vergara, Programming Director and Artistic Co-Chair of this year’s edition.
PRINTEMPS NUMERIQUE FREE
The very first edition will be offered free of charge in digital format on by August 31.
It will include original articles and others translated and adapted from French, thus creating a two-way synergy allowing the best of both worlds to come together for the benefit of readers and, ultimately, students, ”says magazine editor Audrey Miller. “Like its big brother École branchée, Engaged Learning will be published three times a year in the fall, winter and spring, in print and digital versions.
PRINTEMPS NUMERIQUE PROFESSIONAL
In order to amplify the impact of its actions on this important issue, the École branchée, thanks to support from the Quebec Ministry of Education as part of the Canada-Quebec Agreement, is launching the English-language edition of its renowned professional magazine.
But how do you stay abreast of best practices supported by digital technology when teaching? In addition, the last two years have shown that digital education in schools can no longer be anecdotal, transversal or associated with a reward. QUEBEC, AugMore than ever, the quality of education plays a determining role in the advancement of society.
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