Congratulations to the winners of the 2017 Golden Nicas! 3,677 entries were submitted from 106 countries for 2017 Prix Ars Electronica prize consideration. We would like to introduce you to the award-winning works now.
The STARTS Prize awarded by the European Commission spotlights collaboration of science, technology and art. That’s the same approach taken by Sophie Lampartner, director of swissnex San Francisco and one of this year’s STARTS jurors. In this interview, she talks about trends at the nexus of these three domains.
“GET INSPIRED – Promising Projects at the Nexus of Art, Technology and Science” was the theme of a showcase of innovative projects based in Linz and Upper Austria staged yesterday by Ars Electronica in cooperation with a regional association of young businesspeople. Join us for a look back at an inspiring evening.
Now that the 2017 STARTS Prizes have been selected, the European Commission’s STARTS initiative is launching another attractive program. Artists can now apply for a residency in which they create a new work of art using the technology of the R&D project of their choice. The entry deadline is May 22, 2017.
This year’s STARTS PRIZE recipients come from Japan and Switzerland. “I’m Humanity” garnered the Grand Prize for Artistic Exploration for Etsuko Yakushimaru; the Grand Prize for Innovative Collaboration goes to Gramazio Kohler Research at ETH–Swiss Federal Institute of Technology in Zurich and the Self-Assembly Lab at MIT for their “Rock Print” installation.
September 7-11, 2017, POSTCITY Linz will be the setting of a stimulating, comprehensive confrontation with the reality and the vision of artificial intelligence. We talked to Ars Electronica Artistic Director Gerfried Stocker about this year’s festival theme.
Yen Tzu Chang (TW) is the recipient of the residency STEAM imaging jointly hosted by the Fraunhofer Institute for Medical Image Computing (MEVIS) and Ars Electronica. The Taiwanese media artist will thus have a unique opportunity to work closely together with the Institute’s research staff.
Mainstays of media art in general and the Prix Ars Electronica’s Hybrid Art category in particular are hybrid and transdisciplinary projects and approaches. In this interview, juror Ghalia Elsrakbi talks about her take on hybrid art and what she sees as the role art can play in 2017.
March 13th is the deadline for submitting works of media art for 2017 Prix Ars Electronica prize consideration. In this interview, sound artist Emre Erkal, one of this year’s jurors in the Digital Musics & Sound Art category, talks about sounds, architecture and artificial intelligence.
Since 1998, the Prix Ars Electronica has included a category especially for kids and young people under 19 years of age, and Sirikit Amann has been a juror since the very inception. We recently joined her for a look back at some particularly memorable prizewinning works.
Experimenting, testing and understanding. Over 2,000 pupils came to the Ars Electronica Center to present their self-developed experiments to a public audience and to take a look at other experimental set-ups. View our picture gallery of astonished and curious gazes of the participating kids and teenagers!
Even in the 21st century, robotics R&D is still a male domain. On the occasion of International Women’s Day, we discussed this issue with Martina Mara of the Ars Electronica Futurelab. She’s a media psychologist and director of robo-psychology.
Réka Bucsi’s animated short film “Symphony no. 42” got her shortlisted at the 87th Academy Awards. In April, she’ll be one of the 2017 Prix Ars Electronica jurors selecting this year’s Golden Nica recipients.
Collaboration among science, technology and art is urgently needed! Marleen Stikker and Lucas Evers of the Waag Society talk about these three fields’ commonalities and, shortly before the entry deadline, address a last-chance call to motivate artists, engineers and scientists to submit their transdisciplinary projects for 2017 STARTS Prize consideration.
It’s elegantly designed and individually customized to suit the space it illuminates. Highlight, Jussi Ängeslevä’s lamp generated via 3-D printer, features a shape that satisfies users’ (lighting) needs.
Ars Electronica launched an online database especially for women in media arts in September 2016. Women in Media Arts now makes it possible for users themselves to input information and modify the database’s entries about female artists. Here, project manager Florina Costamoling provides a brief introduction to the database designed to be used by, among others, curators and artists.
The extended deadline to submit entries for 2017 Prix Ars Electronica prize consideration is March 13th! That’s when the respective international juries take up the task of naming this year’s prizewinners. So, who exactly are these ladies and gentlemen who’ve been appointed arbiters of excellence in media art?
Once again, the Ars Electronica Festival grounds were serving as a playground for young filmmakers. Equipped with camera and microphone, youngsters with physical handicaps were able to work together with mentors from an association named FAB to document what has happened at the festival and the various approaches artists and visitors were taking to the 2016 theme.
In this interview, the artistic director of the Centre for Fine Arts (BOZAR) discusses the artist’s role in this day and age, notes that art also emerges beyond the confines of picture frames, and points out how important it is for disciplines to interconnect.
A basic framework for chatbot developers, a game programming tool for young people to use on smartphones, and a charging station for refugees—here, we present three projects that received funding from the netidee initiative.
The Fraunhofer Institute for Medical Image Computing (MEVIS) has announced an exciting artist-in-residency program that focuses on links between art and science. They’re also integrating pupils into this experiment.
The water comes in; the water goes out. Since time immemorial, human beings have been fascinated by the sea. Artist Mathieu Le Sourd alias maotik has captured its motions and translated them into a walk-through interactive visualization in Deep Space.
Entries to the competition to determine the honorees of the 30th Prix Ars Electronica are now being accepted! Four Golden Nica statuettes and prizemoney of up to €10,000 in each category await this year’s outstanding media artists. But what’s the story with gender distribution among Prix Ars Electronica prizewinners? We discussed this issue with Gerfried Stocker and the Prix Ars Electronica staff.
In what ways do science, technology and art overlap? What is innovation? And which technological developments will be successful over the long run? Gerfried Stocker, artistic director of Ars Electronica, and Veronika Liebl, STARTS project manager, discussed these topics with us.
Born in Linz in 1894, Klemens Brosch went on to become one of 20th-century Austria’s most outstanding graphic artists, best known for his magical landscapes and melancholy imagery. Deep Space is now featuring jumbo-format projections of some of his small-scale drawings.
A lot can happen in a year! Let’s take a retrospective look at Ars Electronica’s activities in 2016.
What does media art have to do with books, you might ask? The Frankfurt Book Fair just launched its first endeavor to directly connect with the creative economy—THE ARTS+, a new platform for books, art and technology.
The Linz Synagogue that was destroyed in 1938 has been reconstructed—at least, virtually—and it’s now possible to tour it in Deep Space 8K at the Ars Electronica Center. In this interview, Danielle Spera, director of the Jewish Museum of Vienna, talked to us about the general significance of a synagogue as well as her personal connection to the Jewish house of worship in Linz.
The “Hybrids” exhibition co-produced by Ars Electronica is running until January 15, 2017 at the Onassis Cultural Center in Athens. It focuses attention on new forms of artistic expression that interconnect disparate genres and thereby cut across the boundary between art and technology.
Even if signals aren’t being received from the Schiaparelli Test Lander on that evening, we nevertheless had an absolutely fascinating time at the ESA Mission Control Centre in Darmstadt, where we followed the decisive moments of the Mars landing in the company of scientists and artist Aoife Van Linden Tol. Here, we present a few impressions of the journey.