The RRF Project

[Remembering] [Repressing] [Forgetting]

BEAP – Biennale of Electronic Art Perth 2004
7 Sept – 17 November 2004

Biennale of Electronic Art

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Merida

Today is a very important day in Wilfried’s artistic /curatoral course of life, Interactiva’03 – Biennale for New Media Art is starting in Merida/Yukatan/Mexico. It is not the tropical, exotic place hosting a new media art event, but the fact Wilfried was invited by Raul Moarquech Ferrera-Balanquet, curator of Interactiva, to prepare an artistic / curatoral project for the Biennale and become this way a co-curator. The three Rs are standing for “Remembering – Repressing- Forgetting – so the topic is dealing with memory in most different ways- It is not the first time, that Wilfried was inviting a guest curator for one of his projects, but this project includes in all its consequences 8 curators and their curatorial contributions on the topic, a way to present and demonstrate diversity, not only the diversity of different curatorial concepts, but via the selected artists also a diversity of artistic concepts and all in one project, keeping the options to be installed in virtual space (Internet) as well as in the virtual space of a physical exhibition running from CD-Rom on an a computer monitor. Also consequently, Wilfried is curating virtual space, eg. the space available on the user’s monitor. He creates a special exhibition design, for each involved curator an individual interface which is thematically connected with the curatorial contribution. Wilfried’s way of realising his project is in these days very provocative, because he is acting as an artist, as well as the chief curator curating other curators. Probably such ideas can be realized in 2003 only in the experimental context of an experimenting Biennale, because the conventional art scene would not allow such an experiment, yet. Because each curator is coming from a different country, even different continents, The RRF Project v.1.0 is the forrunner of the subsequent global networking project, as it is manifesting itself as RRF 2004 and later. In this way RRF v.1 has a key function for all of Wilfried’s following artistic and curatorial projects. In 2003, it was invitation to initiate the RRF project, later in autumn 2003 he will receive the invitation to participate in the Biennale of Electronic Art in Perth (BEAP2004) starting in September 2004, both invitations have an enormous enncouraging and creative effect on Wilfried, in fact during 2003, Wilfried’s professional course of life will determined already, but Wilfried doesn’t know it, of course. Even if past articles were mentionning already, that Wilfried started on 1. January 2000 his (new) life from point zero, for a better understanding it is necessary to point here again, that in the process of re-shaping himself as a human and artist, these moments giving Wilfried’s creativity a push forward have a fundamental relevance, also in a psychological concern, they stabilize Wilfried’s personality. He will not attend the event in the Maya country Yucatan, he is not prepared, yet for long distance travels, one year later, however, he will be so far to stay several weeks in Australia when he will attend the Biennale in Perth. Wilfried will be visiting Mexico only in 2011.

MACAY – Museum of Contemporary Art Merida

MACAY

The Fernando García Ponce – MACAY Museum is a museum complex dedicated to contemporary, pictorial and sculptural art, located in Mérida, Yucatán, México. It is located in the Plaza Mayor of the Yucatecan capital, in the heart of its historic center, next to the Cathedral of San Ildefonso.
In 1994, during the administration of Governor Dulce María Sauri and with the promotion of Carlos García Ponce, brother of the abstract painter Fernando García Ponce, part of whose work is displayed in the museum rooms, the MACAY was inaugurated occupying the building described above , with the mission of promoting the dissemination of national and international contemporary art. It has a total area of ​​3,500 m2, an area in which the following takes place:

Fifteen rooms for temporary exhibitions, two galleries and four rooms with permanent exhibitions. In the latter, the work of three stellar figures of Yucatecan art is exhibited: Fernando Castro Pacheco, Fernando García Ponce and Gabriel Ramírez Aznar.

There are two interior spaces: the Jardin de las Tinajas and the Expoforo, the latter with a capacity for 500 seated people. Both spaces are used for presentations and public events of various kinds and, occasionally, to be added to the exhibition spaces.

The museum presents a multiple sample of the Mexican national pictorial and sculptural talent. It gathers in its temporary exhibition rooms samples of the work of various national and foreign artists.4

The work of local artists who normally act as hosts to those foreign creators – national and foreign – whose work is presented simultaneously is presented.

Interactiva’03 – Biennale of New Media Art

Interactiva’03 – Biennale for New Media Art – @ MACAY – Museum of Contemporary Art Merida/Mexico
http://www.labcartodigital.org/interactiva/interactiva03/
11 July – 28 September 2003

Agricola de Cologne and
[R]-[R]-[F] Festival – Version 1.0
http://rrf.newmediafest.org/

Curador Ejecutivo/Executive Curator: Raul Ferrera-Balanquet
Curadores Invitados/Guest Curators:
Fatima Lasay, Pooja Sood, Agricola de Cologne
Ensayos/Essays: Laura Baigorri – Heidi Figueroa-Sarriera
Museografia/Museographer: Jose Luis Rodriguez de Arma

The RRF Project 1.0
[R]-[R]-[F] – version 1.0
was launched in 2003 as an individual project in the framework of Biennale of New Media Art Merida/Mexico, and was incorporated in the RRF project environment on 1 January 2005.
review on NEURAL

[R]-[R]-[F] – version 1.0
central interface

The RRF Project has a development since 2003, when on 1 July 2003, version 1.0 was launched. In 2004, independently from version 1.0 version 2.0 was released, only in 2005 both projects version fusioned to version 3.0 – resulting The RRF Project XP

From its structures, [R] – [R] – [F] – Festival is an extraordinary experimental New Media art project in form of an online festival created, programmed and realized by Agricola de Cologne.
Its central subject, abbreviated in the capital letters of the title, is Remembering, Repressing, Forgetting. A new way of art working is practiced: networking as artworking.
Experimental fields of memory are developed by inviting curators from different countries around the globe, eg directors of media festivals or curators specialized in New Media, who have to select a number of artists of their choice according the terms of the project.
The dynamic of this ongoing and continously changing project, as it is set up for being presented in festivals and media exhibitions, manifests itself not only in the artistic online environment,
especially created for [R] – [R] – [F] – Festival, but also progressing when for each new presentation a new project version is created, including new subject related aspects, new curators and new artists and new visualizations of the connected memory fields. Continuously expanding, these memory fields containing curators and artists of the previous project versions,will be always present in the background while slowly a networking universe of collective memory comes up. The project uses the Internet not only as an artistic environment, but primarily also as a communicating medium and a data base which is closely connected to memory and loss of memory, thus the subject of the festival project. The Internet represents not only the ideal medium in many ways, but allows above that direct intercultural networking like no other medium. [R] – [R] – [F] – Festival is closely connected to another net based art project by Agricola de Cologne “A Virtual Memorial – Memorial project against the Forgetting and for Humanity – http://www.a-virtual-memorial.org

Version 1.0 is featuring the curatorial contributions by Wilton Azevedo (Brazil), Anna Hatzianaki (Greece), Branca Bencic (Croatia),, Caterina Davinio (Italy) ,
Fran Ilich (Mexico) , Evgenyi Umansky (Russia), Vincent Makowski (France)Melody Parker-Carter (Germany) and Agricola de Cologne (Germany) .

List of curators and selected artists
the names are connected with the biographies

Wilton Azevedo/Brazil

curates
1. – Andre Vallias (Brazil)
2. – Chris Funkhouser (USA)
3. Komninos Zervos (Australia)
4.. –Tania Fraga (Brazil)

Caterina Davinio/Italy curates

> 1. – Panos Kouros (Greece)
> 2. – Jennifer and Kevin McCoy (USA)
> 3. – Christina McPhee (USA)

Branca Bencic/Croatia curates

1. Lunar
2. Zhel
3. Shirin Kouladije (Canada)
4. Elena Stanic
5. Olja Stipanovic
6. Jelena Vukotic
7. Vanesa Turcinhodzic
8. Petar Brajnovic
9. Tomislav Brajnovic
10. Karo

Anna Hatziyiannaki/Greece curates

the curated contributions, hosted by Artopos – http://artopos.org/projects/rrf/ is using Shockwave, but Shockwve is discontinued since 2017.

1. –Makis Faros
2. –Dimitris Zouroudis
3. –Babis Venetopoulos
4. –Athanasis Beroutsos
5. –Viki Betsou
6. –Joyce Charis

Vincent Makowski/France curates

1. AL (France)
2. Mauro Ceolin (Italy)
3. Arthur X. Doyle (Ireland)
4. Wolf Kahlen (Germany)
5. Cyril Rouge (France)

Eugeny Umansky/Russia curates

1. Eugeny Umansky
2. Jevgeny Palamarchuk
3. Yuri Vasiliev
4. Anatoly Belov
5. Dmitry Bulnygin
6. Oleg Lystsov
7. Alexey Tschebykin

Fran Ilich/Mexico curates

1. Ivan Monroy-Lopez (Mexico)
2. kdag (Colombia/Spain)
3. Judith Villamayor (Argentina)
4. Regina Célia Pinto (Brazil)

Agricola de Cologne/Germany

curates
1. URTICA (Serbia/Montenegro)
2. Trebor Scholz (USA)
3. Darko Fritz (Croatia/Netherlands)
4. Ruth Catlow (UK)
5. Alex Dragulescu (Romania)

Melody Parker Carter/Germany curates

1. Fernando Palmeiro (Spain)

2. Paul Catanese (USA)
3. Tjader Knight Inc. (Finland/Belgium)
4. Osvaldo Cibils (Uruguay)

[/agri_spoiler] [agri_spoiler title=” Central TAFE’s Artist-in-Residence Perth ” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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Artist-in-Residence North Metro TAFE149 Beaufort Street, Perth, Western AustraliaNM TAFE’s Artist-in-Residence is located within the School of Creative Industries, Perth, Australia. The Artist-in-Residence fronts Beaufort Street and comprises living quarters: (2 bedrooms/office), kitchen, laundry, bathroom, living area and courtyard. In addition a spacious studio is attached: a wet area/kitchen and a double shop front which can be used for exhibiting or working or both. The residency is located within the Cultural Centre precinct, serviced by the CAT free bus and within close walking distance to the Art Gallery of Western Australia, the Perth Institute of Contemporary Art (PICA), the Alexander Library, the Western Australian Museum and the entertainment and dining mecca of Northbridge.Invited artists.
Proposals from designers, artists, craft and media practitioners, musicians and organisations who wish to apply to use the premises are invited. Successful applicants will contribute to the to the cultural enrichment of the college and the ongoing education program of Creative Industries students at NM TAFE by exhibiting their work or opening their studios, and conducting public programs such as artist talks and workshops for students and the wider community. Applicants can seek access to accommodation and/or studio. We also facilitate non residential applicants who want to work within the school, immersed in our amazing ceramic, jewellery, print or sculpture studios or use the shopfront as an exhibition or project space.

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[R][R][F] 200X —> XP // Remembering-Repressing-Forgetting – the global networking project
has been realised by Wilfried Agricola de Cologne on occasion and invitation of BEAP 2004 – Biennale of Electronic Art taking place between 7 September and 12 November 2004 in Perth/Australia.

The printed catalogue is available as PDF

Agricola de Cologne was requested to create a global networking project dealing with the phenomenon of “memory” in avariety of different aspects. The global aspect is manifesting itself in the Location of the Internet based project, as such, in the concept to research how people from different contries rooted in different cultures, religions and social background deal with memory, by including artists and curators from different countries, cultural, religious and social background. It was the idea to demonstrate this dealing via different “memory channels”, each one dedicated to a different artistic digital medium.

BAEP 2004: Beap curator Jeremy Blank (right) & Agricola de Cologne (center)
While the Biennale exhibitions were installed at numerous art places and institutes, Agricola de Cologne was installed at the artist in residence gallery @ Central Taffe Institute of Technology Perth/Australia in an exchange between virtual and physical space, where he also was an artist in residence. Wilfried’s work was curated by Jeremy Blank, at that time teacher at Central Tafe School for Art, Design & Media which is also running the Artist in Residence Gallery.

video of the installation ant BEAP 2004 in Perth

Concept of The RRF Project installation

Inauguration, presentation and installation

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[R][R][F] 2004 @ National Museum of Contemporary Art / Kalinderu MediaLab Bucharest – opening 5 March 2004

[R][R][F] 2004
This represents the starting point for the development of a global networking project which will be operating until the end of 2004. Numerous places around the globe will be participating and presenting [R][R][F] 2004 simultaneously during the year: The first ones which joint the project were Kalinderu MediaLab/Museum of Contemporary Art Bucuresti (Romania), Istanbul Museum (Turkey),
Bethlehem International Center (Bethlehem Palestine), Basics Festival (Salzburg/Austria), Bergen Center of Electronic Arts Bergen/Norway(Norway), PEAM – Pescara Electronic Art Meeting 2004 (Italy), invited are also Hong Kong, New York, Stockholm, Haifa, Madrid, Sevilla, Cologne, Athens, Alexandria and many other places.

From its structures, [R][R][F] 2004 is an extraordinary experimental New Media art project programmed and realised by Agricola de Cologne.

Its central subject, abbreviated in the capital letters of the title, is “Remembering, Repressing, Forgetting”. A new way of art working is practised: networking as artworking. Experimental fields of memory are developed by inviting curators from different countries around the globe, eg directors of media festivals or curators specialised in New Media, who have to select a number of artists of their choice according the terms of the project. The dynamic of this ongoing and continuously changing project, as it is set up for being presented in festivals and media exhibitions, manifests itself not only in the artistic online environment, especially created for [R] – [R] – [F] 2004, but also progressing when for each new presentation a new project version is created, including new subject related aspects, new curators and new artists and new visualisations of the connected memory fields.
Continuously expanding, these memory fields containing curators and artists of the previous project versions will be always present in the background while slowly a networking universe of collective memory comes up. The project uses the Internet not only as an artistic environment, but primarily also as a communicating medium and a data base which is closely connected to memory and loss of memory, thus the subject of the festival project. The Internet represents not only the ideal medium in many ways, but allows above that direct intercultural networking like no other medium.

[R][R][F] 2004
is organised completely online. It includes a variety of online and offline components, an exchange between virtual and physical levels. The basic subject is “Memory and Identity”, the basic operating aspect is “networking as artworking”. Although anything connected to the project is transmitted online, the basic installation aspect is the exchange/combination of virtual and physical space in a physical installation.

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These are the components of [R][R][F] 2004
1. [R][R][F] Presentations:
National Museum of Contemporary Art / Kalinderu MediaLab Bucharest – opening 5 March 2004
Bergen Electronic Arts Centre Bergen / Norway http://www.bek.no/ – opening 5 March 2004
New Media Art Festival Bangkok / Thailand http://thailand.culturebase.org/ – 20 – 28 March 2004
Version<'04 Festival - Museum of Contemporary Art Chicago 16 April -1 May 2004 Biennale of Electronic Arts Perth/Australia / Central Taffe Perth - 7 Sept - 17 Nov 2004 The curatorial project RRF v. 2.0 is the basis of RRF 2004 / participating curators and artists: [R][R][F] 2004 ' XP /5 March-30 April/ Kalinderu MediaLab [Remembering-Repressing-Forgetting] experimental global networking project by Agricola de Cologne www.newmediafest.org/rrf2004 -->1st week feature<--- . [R][R][F] 2004 --->XP
consists of several “Memory Channels”
including subject related modules in form of media projects.
.
The basis of [R][R][F] 2004 —>XP
forms [R][R][F] Version 2.0 as “Memory Channel 1”
including contributions from invited curators.
These curators selected following artists:
.
1.
curator: Gita Hashemi (Iran/Canada)
curatorial theme: “RealPlay”
selected artists:
Jaromil, Mireille Astore, Haleh Niazmand
Hardpressed Collective, Threadbare Coalition
.
2.
curator: curator: Raul Ferrera-Balanquet (Cuba/USA)
curatorial theme: “In[ter]vención”
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2. Memory Channels
[R][R][F] and each other included basic component, eg XP (experimental) versions of Violence, Rainforest Memorial, Globalization, AIDS Memorial, News Channel, Streaming Channel, Video Channel and others, but not more than 16 channels in total, will form the “Memory Channels”, which are screened in physical space on “MemoryScreens” and “MemoryProjections” and form the basis of the physical
installation of [R][R][F] 2004.
Globalization modul curated by Humberto Ramirez
http://www.wiggedproductions.com/globalization.html
Critical Art Ensemble http://www.critical-art.net/, subRosa http://www.cyberfeminism.net/, Violence Online Festival
http://www.newmediafest.org/violence/, “Stop Motion Studies” http://www.stopmotionstudies.net/, RTMark http://rtmark.com/,%
20denniscucumberhttp://www.denniscucumber.com/, “Over My Dead Body” http://www.overmydeadbody.org/accueil.php

3. Networks
The networking project does not include only these mentioned virtual and physical components from different sources of [NewMediaArtProjectWork]:cologne, strategic points (places, institutions, individuals) will be installed, which are connected in the network also during the year 2004. Each of these strategic points will form a local network consisting of local institutions, artists,
organisations dealing with New Media and art, “memory and identity” and/or humanitarian matter in social, cultural or political concern. Each strategic point/local network will present [R][R][F] 2004 in physical space simultaneously with other strategic points of the global selected artists:

Giselle Beiguelman (Brazil), Ricardo Baez (Venezuela), Santiago Perez Alfaro (Mexico), Eduardo Nava (El Salvador/USA), Juan Devis and OnRamp Arts (Colombia/USA), Alex Riviera (Peru/USA)
.
3.
curator as interface: Calin Man (Romania)
curator as curator: Stefan Tiron (Romania)
curatorial subject: Romanian Young Guns
selected artists: all Romanian
Sergiu Negulici, Milos Jovanovic, Catalin Rulea
Daniel Gontz, Valentin Chincisan
.
4.
curator: Bjoern Norberg (Sweden)
curatorial subject: “Inflict”
artists: all Swedish
” Beeoff” –> Olle Huge, Tomas Linell, Mikael Scherdin
.
5.
curator: Eva Sjuve (Norway)
curatorial title: BEK_dns
selected artists:
Gijs Gieskes, Antti Sakari Saario, ARM with John Hegre
Fruit, Cosmic Jinxm, Christian Bøen
Thorsen, Lossius, Bastiansen
and
BEK_dns_combat
selected artists:
Torgeir Nes, Tom Moland, Stefan Mitterer, Terje Urnes, Peki Sinikoski, Rune Storetved, Marieke Verbiesen, Gijs Geiskes.
.
6.
curator: Agricola de Cologne (Germany)
curatorial theme: {nodes of identity}
selected artists:
Conor McGarrigle (Ireland), Maite Camacho (Spain), Erkki Kirjalainen (/Santtu Rantanen) (Finland), David Clark (Canada), Melinda Rackham (Australia), Nathaniel Stern (South Africa), Oliver Dyens (Canada), Shilpa Gupta (India), Michael Sellam (France)/Garrett Lynch (Ireland), JODY ZELLEN (USA)
.
7.
Melody Parker Carter (Germany)
curatorial theme: : >preconstructed transformations
selected artists:
Werner Cee (Germany), Sachiko Hayashi (Sweden), Liz Miller (USA), Lisa Gye (Australia), Mustafa Maluka (South Africa), Avi Rosen (Israel), Irena Paskali (Macedonia), GAST BOUSCHET/Nadine Hilbert
(Belgium), Stephane Barron (France), Lisa Cianci (Australia)
.
8.
Special Feature:
title “Women :Memory of Repression in Argentina”
curatorial environment by Raquel Partnoy (USA/Argentina) and Agricola de Cologne (Germany)
including testimonials of “Mothers of Plaza de Mayo” Bueno Aires/Argentina
and net based art works of following Argentine artists—>
Marina Zerbarini , Andamio Contiguo, Irene Coremberg, Anahi Caceres,

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network, as well as it will optional complement this presentation through works of local artists connected to “memory and identity”, and a
program of Internet related actions of different kind, via “online streaming” in real time or temporarily displaced. Further are optional,
workshops or other events to be organised in this framework.
The audience, the project is addressed to is not only reduced to online users, but includes the visitors of the physical installation as well,
who all cannot only participate what is going on in the global network (program), but it is intended to include also some direct involvement
of the visitor.
Please find additional info about Version 1.0 of [R][R][F] festival on : www.newmediafest.org/rrf/

News:
1. Gita Hashemi curates “RealPlay”
“RealPlay”
is the title of Gita Hashemi’s curatorial contribution to [R][R][F] 2004 —>XP www.newmediafest.org/rrf2004/
or direct access also via www.newmediafest.org/rrf2004/rrfv2.htm
Participating artists:
1. Jaromil
2. Hard Pressed Collective
3. Mireille Astore
4. Project Threadbare Coalition
5. Haleh Niazmand
RealPlay
Essay by Gita Hashemi. RealPlay has little to do with play, really. It is about playing for real. Topically positioned in specific times and/or places, the works in RealPlay contest, counter and/or subvert dominant geopolitical and/or cultural notions with reference to the colonial constructs of the “Middle East” and the “West.” This selection works as a broad political commentary as well as responses to certain trends in “new media” discourse that explicitly or implicitly (sometimes inadvertently) postulate and promote fundamental distinctions and discontinuities between the “virtual” and the “real.” Such distinctions inevitably idealize the illusionary (utopic or distopic) space where code is entirely capable of masterminding experience, or where code becomes experience. The projects in RealPlay reject such Westernoriented techno-centric and techno-determinist tendencies by privileging urgent socio-political issues over media formalism and by insisting on the priority of social interaction over, as well as through, cyberspace interactivity. Using diverse practices of documenting and archiving, these projects capitalize on the function of the internet as a repository of retrievable data and, more importantly, as a communication channel that can be advantageously put to use towards inciting counter-hegemonic thought and action.
Subverting stereotypical representations of Palestinians as fanatic terrorists or people solely occupied and pre-occupied by war, in “http://farah.dyne.org/”, an account from a trip to Palestine following the brutal Israeli re-occupation campaign of the West Bank in 2002, software pioneer and artist Jaromil (Italy) gives an account of the everlasting human search and capacity for joy in towns and refugee camps under siege (again). Farah: In Search for Joy is a brief and unpretentious traveler’s search for and documentation of those aspects of the Palestinian popular culture that continue to create, offer and celebrate joy in spite of the prolonged conditions of colonial occupation and war. As an archive (in progress), the website is incubated in and reflective of the artist’s interactions with his environment as it is a virtual space for our encounter with a dimension of Palestinian reality categorically forgotten or ignored in dominant representations in the
West.
An initiative of Hard Pressed Collective (Canada), a group of media artists with a penchant for politically-engaged art-making, “http://www.charlesstreetvideo.com/project.php?id=1” The Olive Project is, on the surface, a programmed compilation of short videos by diverse international artists. Thematically grounded in the historically rich and culturally diverse symbolism of the olive, the videos exhibit a range of artist responses to the ruthless practice of uprooting olive trees in Palestine by Israeli forces- a favourite occupation strategy aiming to force Palestinians off their land by effectively undermining the economic survival of the growers and their local production.
Collectively, the videos construct a time-based memorial to “peace and justice” made of 2-minute blocks. Before, through and beyond the remediated compilation and its dissemination in cyberspace, however, this project functions as a tool for consciousness-raising, mobilizing and networking around an issue of real world significance.
“http://www.crixa.com/mireille/Migrant/Tampa.htm” is the web component of Mireille Astore’s (Australia) larger sculpture and performance project that takes as its starting point the infamous Tampa ship incident in August 2001. The incident brought local and international public attention to the plight of the “boat people”- refugees primarily from the “Middle East”-who, upon arrival in Australian waters, were first refused landing and then recast as prisoners by a xenophobic “Western” state. Astore’s obsessive photographic documentation (from the inside looking out) of her 18-day self-inflicted virtual imprisonment-in a scaled recreation of Tampa on a public beach in Sydney-functions as a looking glass in which to observe the uneasy and disturbing reactions to the arrival of new migrants by a society that has repressed its own memory and burried its own racist and colonial settler history under the grounds on which Woomera and Nauru detention centres currently stand for real.
“http://www.threadbare.tyo.ca/” Project Threadbare is animated by a coalition of activists in response to the detention in August 2003 of 21 South Asian (primarily Pakistani) students in Toronto, Canada under the guise of anti-terrorist and national security operations. Since its inception, Project Threadbare has been an immensely successful local expository and legal campaign against racial targeting, detention and deportation of immigrants and refugees by Canadian police, intelligence and immigration forces, who are hotly in the race for the third place prize of dishonour, after USA and Australia, for breaking their own nation’s civil liberties codes as well as international human rights conventions. This website, an ongoing forum, newsboard and archive for Toronto activists, is one wiki that doesn’t pretend to be the virtual world’s better-than-original replica of “democracy.” Although some of the active members of the coalition are artists and their website is pretty slick, Project Threadbare was not conceived as and does not make a claim to being new media art; rather, it is a real world experiment in social and creative participation and collaboration, with tangible impact in the lives of the original 21 detainees and now in the lives of many others in similar predicaments.
“http://surveyofcommonsense.net/” Survey of Common Sense is a recreation of an earlier participatory painting installation project by the same title by Haleh Niazmand (USA). A parody of the polling industry that for the past 5 or 6 decades has been the engine of “democracy” in the United States, Niazmand’s image-text intervention, in the form of survey questions with forced yes/no “choices,” is not only an authorial comment on the practices of polling as determinant of “democratic outcome,” but a strong challenge to notions of “pragmatism” and “common sense” preached from political pulpits in the present-day United States. Beyond this, Survey of Common Sense is an invitation, courtesy of an artist from the “Middle East” and a citizen of the “West,” to the participants/viewers to recongnize, acknowledge and reflect upon the ways in which each and every one of us are intricately and deeply implicated, really and virtually, in the bloody absurdity of this political moment. As such and in the very impossibility of responding with any degree of ease and resolution to Niazmand’s questions, this work is an incessant challenge issued so we will not slip into forgetting.
The projects in this selection have taken shape independently of this curatorial effort. My thanks to all the participants for allowing me to include their work in RealPlay.

About the curator:
Gita Hashemi
engages in cultural practice as artist, writer, curator, organizer, worker and educator. Her most recent curatorial projects include RealPlay (2004, netart exhibit) Negotiations: From a Piece of Land to a Land of Peace (2003, art-driven multidisciplinary event, http://negotiations2003.net/), WILL (2003, multidisciplinary transnational exhibition, http://negotiations2003.net/will), Afghanistan, 2002: No Refuge and Locating Afghanistan (2002-3, image-text exhibition and publication with photography by Babak Salari), and Trans/Planting: Contemporary Art by Women from/in Iran (2001, with Taraneh Hemami, http://strictlypersonal.net/transplanting).
Her recent titles include Post-Coitus (2003, http://post-coitus.net), Olive Fair (2003, http://olivefair.net/), Many Stones for Palestine (2002, http://strictlypersonal.net/stones), The Word Room (2001, with Post-Exile Collective, http://wordroom.net/), A War Primer (2001, sound installation), and Of Shifting Shadows (2000, CD-R). Hashemi’s work has been exhibited, reviewed and collected nationally and internationally. She is the founder of Iranian Artists in Dialogue, a co-founder of Post-Exile Collective and a founder of Creative Response. She resides in Toronto, Canada.

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Hashemi’s labour as an intellectual has crystallized in simultaneous processes of de/re/construction; not in any specific class of objects or within any particular representational genres, but in the envisioning of the spaces and formulation of the critical practices that can be constitutive in transformative social and political movements. Informed by her direct engagement in liberatory political struggles before, during and after the 1979 Iranian Revolution as well as her experience of exile in North America, Hashemi’s work takes shape in a continuous process of countering masculinist discourses of fundamentalism, fascism, colonialism, corporatism and militarism. Notions of community, co-labouring, public space and active participation are integral to her creative engagement. So is the understanding that artistic practice, as a fundamentally social process, is inherently political and must, therefore, be subject to conscious (re-visionary) feminist re-articulation: The political is personal, the personal is poetic, the poetic is political, the political must become ethical.

[/agri_expand] [/agri_spoiler] [agri_spoiler title=”The RRF 2004 @ Basics Festival Salzburg/Austria” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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Basics Festival @ Galerie 5020-8-16 May-2004-Salzburg

Basics Festival Salzburg/Austria – 8-16 May – 2004

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[/agri_spoiler] [agri_spoiler title=”The RRF 2005 @ Biennale of Video & New Media Santiiago de Chile” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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18-27 November 2005

The Biennale in Santiago was presenting together with The RRF Project (online) – the complete 2005 collection of VideoChannel in physical space @ MAC – Museo de Arte Comtemporaneo Santiago de Chile

PDF

VideoChannel – complete collection – Biennale of Video & New Media Santiago/Chile November 2005

[/agri_spoiler] [agri_spoiler title=”The RRF 2005 @ Regina Gouger Miller Gallery at Carnegie Mellon University– Pittsburgh/USA” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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“Groundworks” Regina Gouger Miller Gallery at Carnegie Mellon University– Pittsburgh/USA-14/10 – 11/12 2005

Today, 13. October 2005 is the opening of the exhibition “Groundworks – environmental collaborations in contemporary art” @ Regina Gouger Gallery @ Carnegie Mellon University Pittsburgh/USA – since some years – Miller Institute for Contemporary Art. This is another of the 65 venues of The RRF Project (2003-2007) – while the other artworks of the show are typical works of individual artists – The RRF Project is typical for a counter concept due to its globally networked structures of artists/curators/insitutions – While the individual art works require usually much space – the most comprehensive work in the show – The RRF Project – an environment of its own – including more than 350 participants is just requring a computer monitor to display the interface, however the visitor/user has to become really active to get through all the exciting interactivity.

Groundworks

The RRF Project

Pittsburgh

[/agri_spoiler] [agri_spoiler title=”The RRF Project – general concept” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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[R][R][F] 200x —>XP

An independent cultural production in progress —>

The project was initiated in October 2003 in order to start in March 2004 the realisation of the global network by presenting [R][R][F] 2004 –>XP at Museum of Contemporary Art Bucaresti/Romania, Bergen Electronic Arts Center Bergen/Norway and New Media Art Festival Bangkok/Thailand and later at different places around the globe and starting a variety of associated processes developing and running during 2005 as [R][R][F]2005—>XP, as [R][R][F]2006—>XP in 2006 etc.

[R][R][F] 200x —>XP is an experimental New Media art project created and developed by media artist and New Media curator Agricola de Cologne which he is developing and organising completely online.

The RRF lecture

[R][R][F] 200x–>XP includes a variety of online and offline components
The basic subject –>“Memory and Identity”
The basic operating aspect –>”networking as artworking”.
The basic presentation aspect –>physical installation – the exchange/combination of virtual and physical space.

Due to its complexity, [R][R][F] 200x —>XP is constructed of two parts, a low tech administrative body which contains all relevant project related information in a textual form, and an high tech artistic body based on an interface developed in Flash. Both together form the art work to be transported or distributed via the Internet. The artistic body includes all art related components which may come from most different sources.
The interface of the artistic body refers to the human brain and its complex networking structures by visualizing them in different ways. The essential nodes of connection are reduced to some basic sections , named: “Memory Channels”. Each of these “Memory Channels” (currently eight) is focussing on different aspects of “memory and identity” – the main subject of [R][R][F] 200x –>XP – and may carry some sub-sections as well, modules which contain specific project environments or individual art works.

[R][R][F] 200x –>XP is an interactive environment. Both, the dynamic of the project becomes perceivable and the actual art work comes up only through the activity of at least one single user. But it is not only the activity of using a mouse or keyboard for exploring this net based art environment, but as the result of it the activity which is provoked by using the senses and initiating processes through associating.

In this way, [R][R][F] 200x–>XP does not represent a complete art work, but Internet specific as it is, the project is ongoing. Corresponding to the collage principle the brain is using for its associative system, the project represents rather a framework for options to start processes. By following them, the actual art work can take shape in most individual ways, in a kind of dynamic virtual sculpture, a kind of hyper-dimensional collage or patchwork.

The composition of the work is as simple and simultaneously as complex as it can be. Agricola de Cologne holds the position of a creator who is building an Universe of hisown in which most different networking instances are acting. He is creating a specific system, which is based on filtering, associating and linking on different level, starting from his personal view based on specific filters, then by inviting curators, who select artists of their choice, the next filtering and networking level is installed,. The artists who are selected via curating form the next following level. As they may come from different cultural, religious, political and social backgrounds and more than 45 countries on the globe, they are installing a complex filtering system of their own via the artworks and the specific view the art work is based on. Each included art work has and gets a very special meaning in this networking context.
The active user anywhere on the globe, finally, forms another level by contributing his personal filtering system via associating and reflecting, it is him who is initiating actively processes which lead finally to his personal art work.
The term “global” has a fundamental meaning in many concerns, not only related to the global aspect in terms of this Universe the creator is building, but even more to the networking structure the creator is installing in the global context of this “one” world we all are living in, by inviting/involving/incorporating physical networking instances as curators, artists, institutions, organisations etc, which can form the basis for external/affiliated local networks consisting optionally again of a variety of virtual and physical components, but also in the sense of distributing the specific project contents which may have again complex relations to the term “global”.
Without the existence and the rapid developments of the new (and above all affordable) communicating technologies and the virtual environment of the Internet, which allows communicating in real time to any place on the globe, a project like [R][R][F] 200x –>XP would have never been started .Agricola de Cologne is using these technologies in most different ways according their rules –>the Internet as a whole not only as a database, but as an environment for creating art, for distributing net based art in its various forms and in this way the specific content of his project via the net in real time to any part on the globe.
Thus, “networking” in terms of “ artworking” is not reduced to a certain aspect of artistic creating in which several artists work on a common project under mutual influence and inspiration, but includes all possibible elements and their mutual relation and dependence the actively involved networking instances are producing .
Networking is a specific form of communicating, and communicating as such forms the fundament of the project, in general. Consequently, an essential part of the project consist of components which may become visible only as the result of a communicating process, but are actually acting entirely in the background , as the communicating between the physical networking instances which keep the project running.
The exchange/communication between physical and virtual space has a specific relevance. One main goal of [R][R][F] 200x–>XP represents its installation/presentation in physical space at locations in most different parts on the globe, whereby [R][R][F]200x —>XP does not provide any physical component, but exclusively its art related contents distributed via the Internet. Each single physical installation represents an unique action, not only due to the different conditions space and the dimension the technical equipment may have, but also to the inclusion of new aspects and components in this continuously expanding project environment.
[R][R][F] 200x —>XP is an open system, not in the sense of “open source”, but, independently from any restricting ideology, it is open for all developments which might come .
Agricola de Cologne shows himself as a universal instance which incorporates most different functions in one single person, in first place the artist, but also the programmer & multi-media developer of its content, the creator of an universe of itsown, a director of a virtual institution, the chief –curator who curates curators, the curator who curates artist and contents, the co-ordinator and organiser of virtual and physical events, initiator and central networking instance withing the entire networking structure, but rather as a “primus inter pares” than in an hierarchic sense.

[/agri_spoiler] [agri_spoiler title=” Visuals” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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Like many other artistic projects, The RRF Project was created (2003-2007) by using the popular multimedia software of Flash (by Macromedia). After 2010, this software company was taken over by the software giant ADOBE resulting the discontinuation of Flash after 2018. In 2020 the support of Flash was cut, so that all works created in Flash are no longer accessible online. On request, however the artistic projects can be installed and reviewed offline.

Although the project is still existing because its files and hardware amd software are still existing, but due to a technology erased by the respective software compamy, whole generations of creators of multi-media online contents using this technology have lost their projects/property online. There are artists whose entire oeuvre was depending on FLASH.

Art in the internet cannot be thought wIthout Flash, because it was an ideal creation tool for interactive applications. On the other hand there does not exist a comparable alternative which might replace Flash to be used for transforming the Flash contents into another technology. So, all these works are definitely lost not only for the creator but also for the online user.

At this stage, it is only possible to document The RRF Project via a couple of static images, which, however give not the slightest idea of the incredible dimension of networked art projects, artists, curators, venues, concepts and ideas and a new kind of art creation via global networking involving/including the active user into the creation.

[/agri_spoiler] [agri_spoiler title=”The RRF Project artists” open=”no” style=”default” icon=”chevron” anchor=”” class=”su-spoiler-title su-spoiler-style-fancy”
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The RRF Project -[Remembering][Repressing][Forgetting] participating artists

100 (The RRF Project) (((controller-band (Germany), 8gg (Beijing /China), A.Andric & I.Vasiljev (Serbia), Abinadi Meza (USA), Adam Beebe-Infanticide (USA), Adam Nash (Australia), Adam Overton (USA), Adam Willets (New Zealand), AGGTELEK (Spain), Agricola de Cologne (Germany), AL (France), Alan Sondheim USA), Aldo Peredo (Chile), Alejandra Perez Nunez (aka Elpueblodechina)(Argentina), Alejandro Delgado (Philippines), ALEJANDRO GOMEZ TOLOSA (Argentina), Alejandro Jaimes-Larrarte (Venezuela), Alessandro Orlandi (Italy), Alex Dragulescu (Romania), Alex Riviera (Peru/USA), Alexander John Castro II (Philippines), Alexander Kharkovsky (Russia), Alexey Tschebykin (Russia), Alfred Anton Po (Philippines), Alfred Mark Trajeco (Philippines), Alfredo Ramírez Castruita (Philippines), Alice Arnold (USA), Alicia Partnoy (USA), Alicia Porcel de Peralta (Philippines), Alison Chung-Yan (Canada), Alison Cole (USA), Alvaro Ardevol (Spain), Amanda Earl (Australia), Amiel Lapuebla (Philippines), Anahi Caceres (Argentina), Anatoly Belov (Bulgaria), Andamio Contiguo (Argentina), André Austvoll (Norway), Andre Vallias (Brazil), Andre Zogholy (Austria), Andrea Ferrari, Fiorella Nicosia, Polytimi Patapi (Italy), Andrea Polli (USA), Andreas Genz (Austria), Andreja Andric (Italy), Andres Ingoglia (USA), Andres Yepes (Venezuela), Andrew François (Australia), Andy Cox (USA), Andy Deck (USA), Anna Friz and Annabelle Chvostek (Canada), Anna Teresa Cabardo (Philippines), Anne Bray and Molly Cleator (USA), Annie Abrahams & Jan de Weille (France), anonymous, Antoine Schmitt (France), Antonia Valero (Spain), Antonio Alvarado (Spain), Antonio Sassu (Italy) – Antony Milton (New Zealand), Antti Sakari-Saario (Finland), Archie Yumul (Philippines), Arie van Schutterhoef (NL), ARM with John Hegre (Norway), Arne Rygg (Norway), Arthur X. Doyle (Ireland), Astrêe Galbiatta (France), Atanas Djonov (Australia), audible3 (New Zealand), Austin Camilleri (Malta), Avi Rosen (Israel), Babel (Canada), Babis Venetopoulos (Greece), Bang-Geul Han (South Korea), Barry Smylie (Canada), Bastard Pop (Germany), Beat Suter and René Bauer (Switzerland), Beatriz Caravaggio (Spain), Beeoff (Sweden), Benjamin B. Kinsley (Australia), Big Orange (Germany), Bill Berry, Mark Palmer (USA), Bjørn Wangen (Sweden), Bluescreen, Cendres Lavy, BNC, Jörg Ritter (Germany), Borras Michael (France), Brian Goeltzenleuchter, Brian Judy (USA), Brian Oliver (USA), brocolis VHS (Brazil), Brody Condon (USA), Brook A Knight (USA)

100 Bruce Eves (USA), Bruce Petty (Australia), Bulent Bas (Turkey), Burak Bedenlier (Turkey), C6.org (USA), Caitlin Berrigan (USA), Calin Dan (Romania), Calin Man (Romania), Camilla Tabagan, (Philippines), Carl Priestly (UK), Carla Della Beffa (Italy), Carlito Amalla (Philippines), Carlo Ahillion (Philippines), CARLO FATIGONI (Italy), Carlos Ruiz-Valarino (Purto Rico), Carmen Pezido (Argentina), Caroline de Lannoy (UK), Carrie Gates (Canada), Casaluce/Geiger (Italy), Cassia Kallenah (Brazil), Catalin Rulea (Romania), Caterina Davinio (Italy) , Catherine Clover (USA), Catherine Rose Lasam (Philippines), Cecilia Lundquist (Sweden), CEZAR LÃZÃRESCU (Romania), Chang-Kyum Kim (South Korea), Cherry Ann Tolentino (Philippines), Cheryl HENG and WhooKiat HENG (USA), Chiara Passa (Italy), Chris Funkhouser (USA), Christian Bermudez (San Salvador), Christian Bøen (Norway), Christian Rupp (Austria), Christina McPhee (USA), Christoph Bruno (France), Chua, Cincia Cremona (UK), Cindy Gabriela Flores (Mexico), Clare Ultimo (USA), Claudia Masin (Argentina), Claudia Sohrens (Germany/USA), Claudia Tribin (Colombia), Claudina Pugliese (Italy), Clemente Padin (Uruguay), Coco Gordon (USA), Colin Black (Australia), Coniglioviola (Italy), Conor McGarrigle (Ireland), Cosmic Jinx (Germany), Craig Macneill (USA), Craig Poirier (Canada), Cynthia Payne (UK), Cynthia Whelan (UK), Cyril Rouge (France), Dagmar Kase (Estonia), Damian Stewart (USA), Dana Levy (Israel), Daniel Gontz (Romania), Daniel Hanequand (Belgium), Daniel Lo Iacono (Germany), Danielle E. Lee USA), Dante Smirnoff (Spain), Darko Fritz (Croatia/Netherlands), Darko Vuckovic (Croatia), Darshana Vora (USA), David Cheung (Canada), David Clark (Canada), David Crawford (USA), David Fujino (Canada), David Guez (France), David McCallum (Canada), David McKenzie (USA), David Phillips and Paul Rowley (USA), David R. Mooney (USA), David Vegezzi (USA), Davida Kidd )Canada), Deb King USA), Deodato Pairez (Philippines), DerWarst (Germany), Dimitris Zouroudis (Greece), Dirk Wichmann (Germany), DJ Noor (Germany), DJ Sascha (Germany), DJRABBI (USA), Dlsan (Italy), Dmitry Bulnygin (Russia), Don Juan Paolo Torres (Philippines), Donald Bousted (UK), Doppelpluss – Brigitte Kuepper (voc/tb/div), Wolfgang Simons (git/sax/div), Konrad Doeppert (synth/perc/div), Peter Wolf (voc/perc/div), Doron Golan (USA), Dorothea B. Wegelein (Germany), Dotcom Poppa Disasta (Germany), Downwind Productions (USA), Dyian Anguelov (Bulgaria), Dylan Graham (USA), ED Mole (France), Eduardo Angel (Colombia)

100 Eduardo Nava (El Salvador/USA), eduardo paz carlson (Uruguay), Edward Marszewski (USA), ego (Italy), Eileen Bonner (UK), Eldad Tsabary (USA), Eleanor Alfante (Philippines), Elena Stanic (Croatia), Elia Alba (Domenican Republic), Elyasaf Kowner (Israel), Emilie Pitoiset (France), Emilio Jiménez Sánchez (Spain), Empar Cubells (Spain), Enrico Tomaselli (Italy), Enrique Radigales (UK), Ensemble All-Tag – Frank Bersziek (sax, bcl), Konrad Doeppert (analogsynth, objects), Matthias Kaiser (violin), Joerg Koenig (git), Eric Flores (Philippines), Eric Parnes (USA), Eric Sandellin (Sweden), Eric van Hove (Belgium), Eric Wennermark (Sweden), Erkki Kirjalainen (/Santtu Rantanen) (Finland), ESTHER BOURDAGES (Canada), Eugeny Umansky (Russia), Eva Lewarne (Canada), Eva Sjuve (Norway), Eyewash (Germany), F.I.M. (Free improvised music cologne) – Nobert Zajac (voc), Matthias Kaiser (violin), Frank Bersziek (sax, basscl), Michael Haverkamp (sax, perc), Karl Kruetzmann (fl, tr, piano), Joerg Koenig (git), Axel Hoeptner (piano), Frank Homburg (sax), Wolfgang Simmons (git), Fabian Giles (Mexico), Fabio Oliveira Nunes (Brazil)Fabio Paolizzo (Italy), Fanny Aboulker (UK), Fatih Balci (Turkey), Feargal O Malley (Irland), Feedbuck Galore (Germany), Fernanda Bragone (Argentina), Fernando Baena (Spain), Fernando Palmeiro (Spain), fishtank – Giovanni Antignano, Fernanda Veron (Italy/Argentina) , Fran Ilich (Mexico), Francesca da Rimini (Australia), Francis Rafael Sanbuenabuentura (Philippines), Francisco Lopez (USA), Franck de las Mercedes (Nicaragua), Fred, Fennollabate (France), Fruit (Germany), Future Remix (USA), G.H. Hovagimyan (USA), Gabi Bila-Günther (Germany) , Gabriel Otero (Argentina), Garrett Lynch (Ireland), GAST BOUSCHET/Nadine Hilbert (Belgium), Gaumen (Germany), Gem Alexandria Tuano (Philippines), Genco Gulan (Turkey), Geniwate (Australia), Geoffrey Thomas (USA), Gerald Schwartz (USA), Gerard Baja (Argentina), Giacomo Picca (Brazil), Gijs Gieskes (Netherlands), Gildardo Cruz Rojas (Philippines), Giles Trendle (UK), Gimo Lanot (Philippines), Gina Bremen (Germany), Gina Valenti (Argentina), gintas K (Lithuania), Giovanni Antignano (Italy),, Giselle Beiguelman (Brazil), Gita Hashemi (Canada), Glenn Bach (USA), Glorious Ninth (Patrick Simmons & Kate Southworth)(UK) , Goh Lee Kwang (south Korea), Grègoire Zabé (F), Gregory Chatonsky (France), Gruppo Sinestetico (Italy), Gudrun Bittner (Austria/Spain), Guido Braun (Germany), Guillaume Dimanche (France), Guillermo García de la Torre (Philippines), Hae-Min Kim (South Korea), Haleh Niazmand (Iran), Hardpressed Collective (Canada/Pakistan), HarS – Harold Schellinx (Netherlands), Helen Thorington (USA), Helga’s Ephemeris (Russia), Hervé Constant (UK), Holger Eggert (Germany), Holly Daggers (USA), Home Team, Hugues Rochette (Frane), Humberto Ramirez (USA/Chile), I8U (Canada), Ian Flitman (UK), Ickejana (Germany), Igor Baskin (Russia), Igor Marinkovic (Serbia) <7font>

100 Igor Ulanowsky (Israel), Ilse Hilpert (Germany), Indira Montoya (Argentina), Irena Paskali (Macedonia), Irene Coremberg (Argentina), Irene Marx (Germany), Irvis Gonzalez (USA), Isabel Aranda Yto (Chile), Ivan Abreu (Cua), Ivan Bachev (Bulgaria), Ivan Monroy-Lopez (Mexico), Ivana Ozetsky & Jadanko Pongrac (Croatia), J Sundheim & Reuss (Germany), J Trautwein (USA), Jack Messenger & Chirstinn Whyte (UK), Jamelie Hassan (Pakistan), Jane Fenton Keane (UK), Janek Schaefer (UK), Janne Vanhanen (Finland), Jaqueline Heer (Germany), Jaromil (Italy), JASON SWEENEY (Australia), jean-françois flamey (France), Jeanne Fremaux (Croatia), Jeff Gurecka (USA), Jelena Vukotic (CRoatia), Jen Ross (UK),, Jen Simmons & Sarah Christman (UK), jen, Jennifer and Kevin McCoy (USA), Jennifer Helia, DeFelice (Czech Republik), Jens Salander /Mikael Stroemberg (Sweden), Jeremy Owen Turner (Canada), Jerusalem Pimentel (Philippines), Jerzy Kolasinski (Canada), Jess Loseby (UK), Jevgeny Palamarchuk (Russia), Ji-Hyun Kim (South Korea), jimpunk (FRance), Jo Cook (Canada), Jo-Anne Green (USA), Joaquin Ivars (Spain), JODY ZELLEN (USA), Joerg Gruenberg (Germany), Joerg Piringer (Austria), Joey, Claronino (Philippines), Johanna Thompson (USA), Johannes Finke (Germany), John E. Bower (USA), John Ervin General (Philippines), John Hopkins (USA), John Johnston (USA), John Kannenberg (USA), John Michael Acevedo (Philippines), John Plenge (USA), Jojoti Wylie (New Zealand), Jon Burgerman (UK), Jon Vaughn (Canada), Jonathan Cardillo (Argentina), Joon-Yong Jung (outh Korea), Jørgen Larson (Sweden), Jose Cuckier (Argentina), Joseph Raz, Jr. (Philippines), Josephine Lipuma (USA), Josh McPhee (USA), Joy Garnett (USA), Joyce Charis (Greece), Juan Alcón (Spain), Juan Antonio Lleó (Spain), Juan Carlos Carrazón (Spain), Juan Del Gado (UK), Juan Devis and OnRamp Arts (Colombia/USA), Juan Domingo Ferris (Spain), Juan Manuel Ruiz (Puerto Rico), Judith Villamayor (Argentina), Judson Wright (USA), Juergen Trautwein (USA), Julian Alvarez (Spain), Julie Andreyev (Canada), Jürgen Bysard Adams (Germany), Kaesha KvK (Germany), Karla Brunet (Brazil), Karo (Croatia), Kathrin Kur (UK/Germany), Katie Bush USA), Katrina De Dios (Philippines), Katrinka Moore (USA), kdag (Colombia/Spain), Kenji Siratori (Japan), Khaled Sabsabi (Lebanon/Australia), Kirsten Reese (Germany), Kirsty Boyle (Australia), Klaudia Kemper (Chile), Klaus Schrefler (Austria), Knut Eckstein (Germany), Komninos Zervos (Australia) , KPHB (France), Kristin Norderval (Norway),Ksenija Kovacevic (Serbia), Kyon (Germany), Larry Caveney USA), Lars Vilhelmsen (Denmark), Laura Amigo (Spain), Laura Chiari (Italy), Laurie Halsey Brown (Netherlands/USA), Lawrence English (Australia), Le Tuan Hung & Ros Bandt (Australia), Le Tuan Hung (Vietnam/Australia), Lea Segarra (Philippines), Lee Kwang, Goh (Malaysia), Lee Welch (Ireland), Leif Inge (Norway), León Ferrari (Argentina), Les Riches Douaniers (France), Lewis LaCook (USA), Li-Chi Hsieh (South Korea), Lionel Wainsztok (Argentina), Lisa Cianci (Australia), Lisa Gye (Australia), LISA HUTTON AND MARK POLISHOOK (USA), Lital Dotan and Eyal Perry (Israel), Liz Miller (USA), Lizamae Orola (Philippines), Lorenzo Oggiani (Italy), Lorenzo Taiuti (Italy)

100 Loy (Poland), Lu(x)z (Germany), Luc Fierens (Belgium), Luca d’Angelo (Italy), Luca di Gregorio (Italy), Lucia Leuci (Italy), Lucky Pierre (USA), Ludovic Guerry alias 20000volt (France), Luigia Cardarelli (Italy), Luke Duncalfe (New Zealand), Lunar (Croatia), Luther Blisset (Netherland), Lynne Williams(UK), Magnus Torstensson (sweden), Maite Camacho (Spain), Makis Faros (Greece), Malte Steiner (GE), Manuel Schiesches (Germany), Mara Infidelious USA), Maral Yakshieva (Russia), Marc Garrett UK), Marc Lee (Switzerland), Marcello Mercado (Germany), Margarida Paiva (Portugal), Maria Blondeel (Belgium), Maria Miranda (Australia), Maria Papadimitriou (Greece), Mariam Ghani(Afghanistan/USA), Marianne Holm Hansen (Denmark), Marielle Nadal (France), Marina Zerbarini (Argentina), Mark Amerika (USA), Mark Anthony Alvarado,, Mark Kammerbauer (USA), Mark Mangion (Malta), Mark Polishook (USA), Marko Stamenkovic (Serbia), Markus Christian Koch (Germany), Marta Sacco (Argentina), Martin Koplin (Germany), Mary Grace Tenorio (Philippines), Mashica (Spain), Mason Petrie (USA), Massimiliano Viel (Italy), Matt Roberts (USA), Matt Rogalsky (USA), Matze Schmidt (Germany), Mauro Ceolin (Italy), Max Haiven Canada), May Trubuhovich (Australia), Maya Kalogera (Croatia), Maysa Arabit Philippines), Medea (Austria), Melinda Rackham (Australia), Merwin De Mesa, Jr. (Philippines), meta (USA), MEZ (Australia), Michael Angelo Lampayan (Philippines), Michael Crane (USA), Michael Grimm (Australia), Michael Kargl (Austria), Michael Sagcal (Philippines), Michael Sellam (France), Michael Szpakowski (UK), Michael Takeo Magruder (USA), Michael Yuen (Australia), Michel Cleempoel (Belgium), mIEKAL aND (USA), Miguel Carlos Labra (Philippines), Miha Ciglar (Slovenia), Miika Nyyssönen (Finland), Mike Haskett (Sweden), Mike Salmond (USA), Miklos Legrady (Canada), Mikrokiko (Germany), Milos Jovanovic (Croatia), Mira Burt-Wintonick (Australia), Mireille Astore (Australia/Lebanon), Miss Johnny (Germany), Mollum (Germany), Monica Delgado (Philippines), Mostra (Germany), Moya Devine (USA), Mustafa Maluka (South Africa), mutantlab (USA), Myron Turner (Canada), Nadja Kutz (Germany), name diffusion (France), Nancy Atakan (Turkey), Nancy Jane Moore (USA), Nancy Mauro-Flude (Australia)
Nanette Wylde (USA), Natalia Ludmila (Mexico), Natalie Bewernitz + Marek Goldowski (Germany), Nathaniel Stern (South Africa), navn (Bulgaria), Nazrin, Neide Jallageas (Brazil), Neil Jendon (Canada)
Néstor Olhagaray (Chile), Nicholas Ruiz III (USA), Nick Barker and Rob Jacobs (UK), Nick Fox-Gieg (USA), Nicolas Clauss (France), Nicolas Economos (USA), Nicolas Ojeda (Argentina), Nicole Lawter (Australia), Nikki Johnson (USA), Niko Loren Dela Cruz (Philippines), Nita Mocanu (Romania), Norie Neumark (Australia), NOTUS (USA), Noya Abdelaziz (Egypt), Oleg Lystsov (Russia), Oliver Dyens (Canada), Oliver Griem (South Korea), Olivia Lopez (Argentina), Olja Stipanovic (Croati)

100 Omar Emir Barquet (Brazil), on Air (Spain), Oren Ben Yosef (Isarel), OSTROWSKI (Poalnd), Osvaldo Cibils (Uruguay), otium (Belgium), Owen Plotkin (USA), Ozge Yilmaz (Turkey), Pablo Bas (Argentina), Päivi Hintsanen (Finland), panoptica (Canada), Panos Kouros (Greece), Pat Badani (USA), Patricia Carini, Patrizia Alemanno (Italy), Pau Pascual Galbis (Spain), Paul Alexandru (Romania), Paul Catanese (USA), Paula Gimenez (Argentina), Paula Miiklosevic (erbia), Paulo Vinluan (Philippines), Pawel Janicki (Poland), Per Pegelow (Germany), Petar Brajnovic (Croatia), Pete Stollery (USA), Peter Jacobi (Romania), Peter John Sprenkeler (Australia), Peter Lind (Denmark), Peter Prautzsch (Germany), Petra Lindholm (Sweden), Pierre Elie Mamou (France), Pierre Portelli (Malta), Pierre Proske (France), Pighed (UK), popcrash (Bulgaria), Post-Exile Collective (Pakistan), PRISM/lars nagler (Austrai), Procemik (Germany), Rafael Alcalá (Puerto Rico), Raivio Keelomes (Estonia), Ramesh Srinivasan (India/USA), Raphael Lyon USA), Raquel Meyers & Raul BB (Spain), Raquel Partnoy (USA), re:combo (Brazil), Regina Célia Pinto (Brazil) , Remigio Coco (Italy), Renee Kellner (Austria), Restate (USA), Reuben James Preston (UK), Ricardo Baez (Venezuela), Ricardo Mbarak (Lebanon), Ricardo Miranda Zuñiga (USA/Nicaragua), Richard Monge (Puerto Rico), Rick Silva (USA), Rika Ohara (USA), Rikki Carmelo Baranda, Criselda Cac (Philippines), Robert Ciesla (Finland), Robert Dohrmann (USA), Robert Echen (Argentina), Robert Finder (USA), Robert Kendall (Canada), Robert Labor (France), Robert Sazdov (Australia), Rodrigo de Toledo (Brazil), Rogelio Santos, Jr. (Philippines), Roland Schappert (Germany), Roopesh Sitharan (Malaysia), Rosa Revsin (Argentina), Rozalinda Borcila (Romania/USA), rüdiger schlömer (Germany), Ruediger Axel Westphal (Germany), Ruth Catlow (UK), Ruth Irupe Sanabria (USA), Ruth Kathryn Santiago (Pgilippines), Ry Sedrick Bolodo (Philippines), Ryan Griffis USA), RZL – Luca Fruzza (Italy), Sabine Scholz (Italy), Sabrina De Leon (Phippines), Sachiko Hayashi (Sweden), Sadiq Bey (USA), Sandra Crisp (UK), Santiago Perez Alfaro (Mexico),santo-File (Spain), Sarah Savage (Canada), Sarawut Chutiwongpeti (Thailand), SCART, Scott Becker (USA), Sebastian Tomczak (Canada), Seng Tat Liew (Malaysia), Serge Smilovich (USA), Sergej Jakovlev (Russia), Sergej Teterin (Russia), Sergio Varela (Argentina), Sergiu Negulici (Romania), Seth Lew USA), Sharon Harper (USA), Sheryl Valencia (Philippines), Shilpa Gupta (India), Shira z. Carmel, Shay Kun (Israel), Shirin Kouladije (Canada), Simon Fildes and Katrina McPherson (UK), Simon Longo (Italy), Sinasi Gunes (Turkey), skylined (Germany), Sol Kjok (Norway/USA), Somaya Langley (UK), Sonic Kitchen (Germany), SonicBoost (Geramany), Soundso – Bettina Wenzel, Brigitte Kuepper, Norbert Zajac, Peter Wolf (all vocal), Speranza Casillo (Italy), Ste van de Minng (Germany), Stefanie Alice Vandriesche (Spain), Stephane Barron (France), Stephane Tomora (France), Stephanie Bouvier (France)

90 Stephen Dixon (Sweden), Stephen Gard (USA), Steve Bradley/Timothy Nohe (USA), Sue Huang (Sweden), Suguru Goto (Japan), Susan Collins (UK), Susana Mendes Silva (Portugal), Svetlana & Andi Wallwhore (USA), swag (Germany), Sylvestre Evrard (France), Szabolcs KissPál (Hungary), TACTICAL20 (USA), Tae Hong Park (South Korea), Tamar Schori (Israel) , Tamara Lai (Belgium), Tan Chui Mui (Malaysia),, Tania Fraga (Brazil), Tautvydas Bajarkevicius (Lithuania), Team of Get Carded (USA), Thadeus Frazier-Reed (USA), Thanasis Beroutsos (Greece), Thanos Chrysakis (GReece), Thomas Petersen (Denmark), Thomas Reiner (Australia), Thorsen, Lossius, Bastiansen (Norway), Thorsten Wieckert (Germany), Threadbare Coalition (Canada), Tigran Tovmeysyan
Tiia Johannson (Estonia), Till Nikolaus v. Heiseler (Germany), Tim Coster (New zealand), Tim Nikolai Hoffmann (Germany), Timothy Bowen (USA), Tjader Knight Inc. (Finland/Belgium), Tobias C. van Veen (Canada), Todd Jokl (USA), Tolya Glaukos (Germany), TOMAS PHILLIPS and DEAN KING (Canda), Tomislav Brajnovic (Croatia), Toni Mestrovic (Croatia), Trace Reddell (USA), Trebor Scholz (USA), Trevor Thomas (USA), triggerMotion (Germany), Trond Lossius (Norway), Tsila Hassine (USA), Tsunamii.net (Thailand), Un Mundo Feliz, Guerrera de Interfaz (Spain), Uriel Colomo (Philppines), URTICA (Serbia/Montenegro), user (ctrl) (Italy), UsineDeBoutons (Lionello Borean+Chiara Grandesso) (Italy), Valentin Chincisan (Romania), Valery Grancher (France), Vanesa Turcinhodzic (Croatia), Ventsislav Zankov (Bulgaria), Vicdan Nalbur Tasdemir (Philippines) , Viki Betsou (Greece), Vince Briffa (Malta), Vincent Paul Samson (PHilippines), Vladimir Todorovic (Serbia), Wehrtheater Leineweber (Germany), Welmo E. Romero Joseph (Puerto Prico), Werner Cee (Germany), wildfirejo (UK), Wilton Azevedo (Brazil), Winchell Saludares, (Ph), Winston Yang (China), Wirecrossing (Singapore), Wittwulf Y Malik (Germany), Wolf Kahlen (Germany), Won-Kon Yi (South Korea), x mac dunlop (UK), Xavier Cahen (France), Xavier Leton (France), Xavier Malbreil & Gérard Dalmon (France)
Ximena (Spain), Yevgeniy Fiks (USA), yosuke hayashi (Japan), Yuri Vasiliev (Bulgaria), Yvonne Martinsson (Sweden), Zhel (Croatia), Zoltan Pabon (Philippines), Zulma Ducca (Philippines)

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