02 July 2018

News

Fubar. 
Call for Glitch Art and Texts

Deadline 15 August 2018

fubar.space

 

Fubar is calling for entries for the exhibition that will form part of Fubar Expo, regarding art works and text pieces in the glitch genre.



 

Fubar is a multimedia event that will run from 6 to 12 October 2018 in Zagreb, Croatia, with an emphasis on the diversity and topicality of glitch art. Artist talks, readings, workshops, video presentations, and glitch art exhibitions are all on the agenda, and artists and experts alike are asked to take part and shape the event as a collective.

Artworks that feature glitch-bound techniques and media are sought for the cross-media exhibition, provided that they can be presented via screen, speakers, on a website or as an analogue display. Each applicant may submit up to three pieces of work via an online form, and pieces will be reviewed and selected by the team by mid-September. The pieces should be named clearly and up to 15 files are allowed for each submission. Further instructions on the documents for submission and applicable restrictions can be found on the website.

Fubar is organised by the Autonomous Cultural Center Attack in conjunction with the artists’ organisation Format C, and receives funding from the Croatian Ministry of Culture and various cultural foundations.

 

About glitch art:

The term “glitch” generally refers to a system fault or defect, and began to be applied to this art movement from the mid-1990s. The first work of glitch art was produced by Jamie Fenton, Raul Zaritsky, and Dick Ainsworth in 1979, in the form of the video “Digital TV Dinner”, which they manipulated using a Bally video game console. After that, visual artists began using planned distortions as a new aesthetic motif in their work. Examples include audio files that suddenly begin to scratch and crackle, or videos in which certain pixels in the image behave erratically. Artistic imperfections may be caused intentionally using the technology, but their final effect is unpredictable, which makes the method partly subject to chance. The artist decides upon the images to be shown or sounds to be heard, but the ultimate impression and sound is caused by the machine, which knows nothing of historical artistic conventions, ideologies, economic preferences or matters of taste. The machine enables a visual language that surpasses human imagination.

 

 

 

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