Website: http://gavaligai.com
Works at: Seoul Art Space_GeumCheon
Stays in: 2013
Genre:
Profile:
Education
1997 New York University. Interactive Telecommunication Program. New Media.
1988 The Hebrew University, Jerusalem. Philosophy
1995 Bezalel Academy of Art and Design, Jerusalem. Sculpture.
Selected Projects
2013 Husk and Ash; Audience participatory installation, Seoul, South Korea
2012 Krapp’s Last Tape; Multi-media Installation, Seoul, South Korea
2012 The Garden Library Data Visualization Project; Developed with programmer Andres Calubri
2009 The Garden Library; An open-air library for migrant workers and refugees in south Tel-Aviv; A production of ARTEAM Interdisciplinary Arts
2007 The Ghetto Fighter’s Museum, New Wing Design; Co-designed with Efrat–Kowalski Architects, Tel-Aviv
Selected Exhibitions
2013
- Better Than Universe; Daegu Art Factory, Daegu, South Korea (upcoming)
- Patent Pending; ZERO1, San Jose, CA
- We’re Not Alone; Digital Art Lab, Holon, Israel
2012
- Media City Seoul; Media Art biennale; Seoul, South Korea
- On the Edge 2012: Light, Sound, Life; Obrestad Lighthouse, Norway
2010
- Signals; Bat Yam Museum of Contemporary Art, Israel
- European Media Art Festival; Osnabruck, Germany
- Exposição Arte Cibernética - Acervo Itaú Cultural; Sao Paulo, Brazil
2009
- Biennial of the Canary Islands; Architecture and Landscapes; Tenerife, Canary Islands, Spain
- Speed of Light. The Israeli Center for Digital Art. Holon, Israel
2008
- Videozone Biennale of Video and Media Art; Digital Art Lab, Holon, Israel
- Venice Biennale of Architecture; The Israeli Pavilion
- Intrude366; Zendai Museum of Modern Art, Shanghai, China
2007
- Works in Translation; Digital Art Lab, Holon, Israel
- From Flash to Pixel; Martin Gropius Bau, Berlin, Germany
- Digital Landscapes; Tel Aviv University Gallery, Tel-Aviv, Israel
- Other Words; Braverman Gallery; Tel-Aviv, Israel
- LOOP Video Art Fair, Barcelona, Spain
- INSERT, Hamburg Kunstverein; Hamburg, Germany
- Listen With Your Eyes; a selection from the La Caixa Foundation Collection, La Caixa; Forum, Barcelona, Spain
- The Holocaust and Jewish Resistance Heritage Museum, Israel (new wing co-designer)
2006
- Sensi Sotto Sopra; Rome, Italy
- Emoção Art.ficial, Itau Cultural Institute, Sao-Paolo, Brazil
- From Flash to Pixel; Shanghai, China; Lille, France
- DIGITAL TRANSIT; Arco 06 – Highlights of Ars Electronica; Madrid, Spain
- Beauty and the Book; The Israel Museum, Jerusalem, Israel
2005
- Between Man and Place – an exhibition of contemporary art from Korea and Israel; SSamzie Space, Seoul, S. Korea (curator and participating artist)
- Landscapes; Gana Art Center; Seoul., South Korea
- Electroscape; Inauguration show, Zendai Museum of Modern Art; Shanghai, China
- The Other Book, WRO Media Art Biennale; National Gallery; Wroclaw, Poland
- Hilchot Shchenim; Digital Art Lab, Holon Israel
- Translocations; Petach Tikva Museum of Contemporary Art, PetachTikva, Israel
2004
- Ars Numerica; International Media Art Festival; Montbeliard, France
- FILE-04 Electronic Language Festival; Sao-Paulo, Brazil
- p0es1s; an exhibition of digital poetry; Kulturforum Potsdamer Platz, Berlin. Germany
- Cinemas of the Future; Lille, France
Selected Presentations and Instruction
2012
- Media Prism / Video Landscape; International Symposium and Exhibition, Korean Society of Media & Arts, Korea
- Art and Contemporary Society; International Symposium, Kookmin University, Korea
- Remediating the Social; conference and exhibition; Edinburgh College of Art, Scotland
2011
- ISEA 2011, Istanbul
- Tokyo University, Ishikawa Komuro Laboratory, Tokyo University, Tokyo, Japan
- Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina
2009
- The Center for Rationality, The Hebrew University, Jerusalem, Israel
- Bezalel Academy of Art and Design; Jerusalem, Israel
- Kibbutzim College of Education, Tel-Aviv, Israel
2007
- Bezalel Academy of Art and Design; Jerusalem, Israel
- Kalisher Art College; Tel Aviv, Israel
- Hamidrasha Art College; Beit Berl, Kfar-Saba, Israel
2005
- Interactive Telecommunication Program (ITP); New York University, New York, USA
- Camera Obscura College of Art; Tel-Aviv, Israel
Selected Commissions
2009
- Seoul City Municipality; Seoul, South Korea
2008
- The Venice Biennale of Architecture - Israeli Pavilion
2003-06
- The Ghetto Fighters Museum, Israel
2004
- Phaeno, Wolfsburg, Germany
- The Pittsburgh Children's Museum, Pittsburgh, PA
Selected Grants/Awards
2013
- Artist Residency, Seoul Art Space Geumcheon
2009-13
- WCU research grant; National Research Foundation of Korea and the Korean Ministry of Education, Science and Technology
2011
- Harpo Foundation Grant (for the production of The Garden Library Data Visualization Project)
2005 - current
- Executive member - The International Academy of Digital Arts & Sciences
2000
- EMAF - European Media Art Festival; OLB Critics Choice award (for “TextRain”)
- I.D. Interactive Media Design Review; http://www.idonline.com (for “BeNowHere Interactive”)
1999
- Grant, The Greenwall Foundation
- New Media Invision Award; Invision design magazine. (for “TextRain”)
1998
- Grant, The Greenwall Foundation
- Grant, The Lower Manhattan Cultural Council
- Residency, Kampo Cultural Center, NYC
- Residency, Galapagos Art Space, NYC
1996
- Finalist: New Voices New Visions; The Voyager Company, NYC and Interval Research Corporation, Palo Alto CA
Selected Collections
- La Caixa Foundation, Barcelona, Spain
- The Israel Museum, Jerusalem, Israel
- Itau Cultural, Sao Paulo, Brazil
- Israel Discount Bank, Israel
- Ken Freed, Boston, Massachusetts, USA
- Steve Wilson, Louisville, Kentucky, USA
- David Teplitzky, Bangkok, Thailand
- Sara Lahat, Tel-Aviv, Israel
- Jon Leibowitz, Boston MA, USA
Selected Bibliography (English only):
- Madeline Schwartzman, See Yourself Sensing: Redefining Human Perception (Black Dog Publishing, August 2011)
- Caroline Chik, L'image paradoxale: Fixité et mouvement (The paradoxical image. From camera obscura to interactive animations) (Septentrion Press, 2011)
- Rawlings, Ashley, Feature Article, Art Asia Pacific Magazine (June-July, 2009)
- Nissim Gal, Place and Time in Digital Landscapes: Critical Jewish Resonance in Contemporary Israeli New-Media Art
Journal of Jewish Identities (2009 2,(2))
- Steve Dixon; Digital Performance -A History of New Media in Theater, Dance, Performance Art, and Installation;
- MIT Press ISBN-10: 0-262-04235-5 (2007)
- Blake, Nathan, Research in the Technological, Social, and Cultural Practices of Online Reading http://transliteracies.english.ucsb.edu/post/research-project/research-clearinghouse-individual/research-reports/text-rain-2 (2006)
- Fifield, George. Aspect - The Chronicle of New Media Art; Aspect DVD Magazine, Vol. 4, Text and Language, Boston, MA. (2004)
- Wardrip-Fruin, Noah and Harrigan, Pat (editors), Unusual Positions—Embodied Interaction with Symbolic Spaces, in First Person: New Media as Story, Performance, and Game, (Cambridge: The MIT Press).(2004)
- Paul, Christiane. Digital Art, Thames & Hudson World of Art Series, Thames & Hudson, Ltd., London (2003)
- Bolter, Jay David and Gromala, Diane, Windows and Mirrors: Interaction Design, Digital Art, and the Myth of - Transparency, MIT Press, Cambridge, MA. (2003)
- Jaschko, Susan, Space-Time Correlations Focused in Film Objects and Interactive Video http://www.sujaschko.de/en/research/pr1/spa.html
Patents
2000 Method and System for Facilitating Wireless, Full Body, Real Time User Interaction with Digitally Generated Text Data. (New York University, NYC)
1998 Providing Visual Context for a Mobile Active Visual Display of a Panoramic Region (Interval Research Corp., Palo-Alto, CA)
Residency
2013 - Seoul Art Space Geumcheon – 4 months Artist in Residence, Korea
Works:
Romy Achituv’s Aesthetics of Memory
Kim Ki Su, Director(Daegu Institute of
Contemporary)
Romy Achituv recently created <Memory’s
Stain>, a monumental project for <CMCP> (Collective Memory, Collective
Power) (February 12-March 8, 2014), a project exhibition to commemorate the
11th anniversary of the Daegu subway fire. The artist reveals why he created
this work as follows: “I was shocked by the fact that there was no sign or
monument to commemorate such a tragic disaster ... (Therefore) I would like to have
an opportunity to ruminate on the import of the subway disaster through the
conversion of a gargantuan scale glass box (5.9x6.2x5.2m) into an artistic
monument by using each victims’ name, and a stainedglass technique. Israel-born
artist Achituv produced <Lost Communities Installation>, a monumental
installation to mark the Jewish resistance in World War II by using the names
of 4,500 Jewish communities in Europe, which was exhibited at an art museum in
Tel Aviv in 2007. For <Memory’s Stain>, Achituv presents manifestations
of the names and birth dates of all 192 victims on the front and two sides of a
glass box composed of four panels showing flash stained-glass technique, in
red, orange, blue, and green. Entirely borrowed from traditional Korean lattice
pattern, the stained-glass pattern is symbolic of a structure to open and close,
performing a dual function: a passageway linking the interior to the exterior
and a boundary separating the interior from the exterior. He also spread a
monochrome Daegu map (with three subway lines) on the floor inside the glass
box. He also represented a cityscape of Daegu’s downtown with cardboard boxes
varying in height. The artist intends to address the memory of the Daegu subway
disaster and the diverse layers of its traces, maximizing a stained-glass
effect by installing bright light. His “artistic
monument” harnessing the stained-glass effect displays Daegu’s cityscape
embroidered with sunlight by day and reflects an external world by indoor
lighting at night. In this work his stained-glass aesthetics draw or blur any
distinction between heaven and reality, victims and survivors, Daegu and
external world, addressing a variety of issues such as history and memory, and
the relation between self and other, pertaining to the Daegu disaster. The
artist enables viewers to read text composed of letters and numbers from both
the inside and outside of the glass panels by arranging them to cross over one
another. As an ontological unit the text simultaneously reflects the inside and
outside of the glass box, combined with a riot of stained-glass colors,
functioning to break down all artificial institutionalized boundaries.
<Memory’s Stain>, a monumental project unfolded through a juxtaposition
of four-color stained glass panels and the unprecedented subway disaster
demonstrates the aesthetics of dialectical sublime beauty.
