“From Dada to Google”: article and interview by Giulia Simi in the italian magazine Digimag.
Talk at the Journées d’Etudes of the Séminaire Arts: pratiques et poétiques, Université Rennes 2. General topic: “Compréhension, incompréhension : du malentendu à la provocation”. The title of my talk was “Transfiguration du scandale”.
I’m interviewed by art critic Cyril Thomas about the Dadameter and other projects, for the magazine Artnet
Presentation of the Dadameter at the Upgrade Paris, École Nationale Supérieure des Beaux-Arts de Paris, with María Inés Rodríguez and Dominique Moulon, invited by Marika Dermineur of incident.net. Watch the video at http://incident.net/theupgrade/20_christophe_bruno/
I’m invited with Maria Ines Rodriguez to Studio 168, a radio show on France Culture by Aude Lavigne et Xavier de la Porte.
I’m interviewed about the Dadameter by Jean-David Boussemaer for Art-and-You.com, during the Rencontres Internationales Paris-Berlin-Madrid.
A video interview on the Jeu de Paume website, about the Dadameter and other works.
For the second time I’m invited to Anita Castiel’s radio show: Surpris par la nuit. The topic is Désobéissance festive.
I’m invited by Sophie Joubert to her radio show Le beau monde, with Patrick Gufflet, director of the Théâtre Paris-Villette and the writer Patrick Bouvet. Today’s theme was about art and network.
Talk at the Auditorium Musée Fabre, Comédie du Livre, Montpellier: iterature.com, from Dada to Google, invited by panoplie.org
Talk at the Ecole Nationale Supérieure d’Art de Nancy, invited by Dominique Billier and Didier Fass, Artem
Talk at the Ecole Régionale des Beaux-Arts de Valence, invited by Annick Lantenois.
I’m invited on France Culture, Place de la toile: Art et internet.
Les artistes contemporains ont, depuis plusieurs années, saisi à pleines mains les nouveaux médias. Nouveaux supports, ils remettent en question la notion même d’original, et la circulation de la production artistique est complètement redéfinie. Internet est aussi un vaste réservoir de références à portée de la main, qui nourrissent la production de l’artiste, dont la forme explose pour ne plus appartenir à aucune discipline classique. Internet : moyen de subversion artistique ?
I’m interviewed by Anita Castiel in Surpris par la nuit, on the French radio France Culture (audio link in French). “TAZ ou Liberté j’écris ton nom. Artistes dans les Zones d’autonomie temporaires”, with Cecile Babiole, Alin Avila, Christophe Bruno, Michel Maffesoli, Tatiana et Natacha Quester Séméon.
I was invited by Yves Bernard to open the new series of Arts/Sciences conferences at IMAL, Bruxelles.
Presentation of my work at Ciren, Ecole Nationale Supérieure des Arts Décoratifs / Paris VIII, 31 rue d’Ulm. Invited by Nicolas Thély, Paris I.
L’« Observatoire des nouveaux médias » est un cycle de conférences organisé par l’École nationale supérieure des arts décoratifs (Cycle supérieur de recherche création et innovation) et l’Université Paris 8 (Master « Art contemporain et nouveaux médias » et équipe de recherche « Esthétique des nouveaux médias »).
Presentation of my work at the workshop Art-oriented programming II, Paris I Sorbonne. Organised by David-Olivier Lartigaud & al.
On Saturday Oct. 6 2007, internet users worldwide will be able to take part in the Nuit Blanche organized by the Paris local council. Second Night will be displayed both on Second Life and in the Jean Musy room at Hôtel d’Albret, 31 rue des Francs-Bourgeois (Paris, 4th district).
Avatars and Parisians are invited to wander through the virtual or physical location of their choice to discover the work of around ten international artists. Architecture, politics, the place of the individual in society, security, prostitution: the works displayed raise questions regarding the various aspects of Second Life, which is a penetrable mirror of the real world.
Based on a proposal by Daniele Balit and Christophe Bruno.
In 2006 and 2007 -empyre- global community conducted three moderated conversations on the three leitmotifs of DOCUMENTA 12 chosen by Roger Buergel. I was invited to participate to the first one in March 2006, now published in the DOCUMENTA 12 Magazine Project: Is Modernity our Antiquity? (original pdf here)
With Christiane Paul (USA), Christophe Bruno (F), Eric Kluitenberg (NL), Dirk Vekemans (B), and Christina McPhee (USA) who was also moderator.
I’m interviewed by Luca Barbeni in Ecopolis, online magazine about information ecology:
Christophe Bruno is a french artist always reflecting in his works about communication and language. In his last work logo.hallucination, he monitors the web trough a pattern recognition software, that looks for logo copyright infringements. We talk about privatization of the glance, mash up aesthetic and personal profile.
May 26, 2007: talk about my work at the WebFlashFestival – Expérimentations, Beaubourg Centre Pompidou.
L’hallucination collective nous conduit-elle vers une privatisation du regard ? Le Web 2.0 est-il un club sado-masochiste ? Qu’est-ce que le “capitalisme sémantique” et quel est le prix d’un mot sur Google ? La colonisation de l’intime va-t-elle sauver le système-monde ?
Fascinum is an Internet installation that shows the pictures from the daily news that are the most viewed (ranked from 1 to 10) on different national Yahoo websites, in real time. The viewer surfs on the infotainment tsunami and experiences the paradoxes of global thinking in a blink.
I’m interviewed by Giulia Simi in the italian magazine digicult.it. Here is the interview in english:
How Logo.Hallucination idea was born?
Up to now many of my work were dealing with questions of language and globalization, commodification of speech (http://www.iterature.com/adwords) etc., and I felt that I had to move more deeply towards a field closer to the question of the image, but in relation to similar questionings.
Presentation of my artistic activity at the Ecole supérieure des beaux-arts de Cornouaille, Quimper, invited by Karine Lebrun.
Presentation of some of my works at the DorkBot Madrid : “Gente que hace cosas raras con electricidad”.
From January 10 to February 11, 2006: solo exhibition at galerie Sollertis, Toulouse. Here is the press release. Live performance of the Human Browser at the opening, with Jérôme Piques. The WiFi-SM patch is now for real and it will be exhibited at the gallery. Visitors are very welcome to try it! L’exposition a bénéficié du soutien du CNAP et de medias-cite.org
Le Net Art à l’oeuvre, journée d’étude à la BNF (Bibliothèque Nationale de France)
Jean-Noël Jeanneney, Daniel Buren (sous réserve), Jean-Paul Fourmentraux, Anne Laforêt, Christophe Bruno, Samuel Bianchini, Agnès de Cayeux, Carlo Giordano, Galerie Numeriscausa, Edouardo Kac, France Lasfargues, Marie Saladin, Xavier Sené, Grégory Miura, Annick Rivoire, François Michaud, Janique Laudouar, Paul Devautour
In September 2004 I was a guest-blogger for the French online magazine fluctuat.net. I wrote a series of short posts about what could be called «the precursors of the Web»… or «the Web minus the technology».
Here is an augmented and updated version in English that will be published in the magazine for art and new media aminima N°20. Some of my pieces are described as well, in relation to these precursors.
Abstract: In this article the author considers the concept of disfiguration, a process of transformation of the pagination, formatting and editorial characteristics of an on-line text, that is, what Yves Jeanneret calls its textualisation. The concept of disfiguration is used to highlight the semiotic impact of editorial enunciation on the Internet. The work studied here, the Dreamlogs of Netartist Christophe Bruno, subverts a canonic form of the blog in a practice of distorted self-publishing. It thus manipulates the Internaut’s cognitive routines and, by disfiguring the texts, questions the common practices of writing, reading and interpretation.
I’m interviewed by Alessandro Ludovico in the Italian magazine for new media, hacktivism and emusic Neural Magazine N°25
Your ‘Google Adwords’ was one of the first works that showed the paradox of the ’semantic capitalism’ (as you defined it), that is at the core of Google business. You also defined as “taylorisation of speech” the “control and spectacle of words used in Google”. So in your opinion the Google real potential is administering the largest online semantic capital? And which are the main characteristics of this economy of (searchable and archived) texts?
Published in the ReadMe 100 book, an introductory text to my long-term project Cosmolalia
Authors include: Amy Alexander, Inke Arns, Christophe Bruno, Javier Candeira, Yves Degoyon, Elpueblodechina, Olga Goriunova, Francis Hunger, Sven Konig, Eric Londaits, Alessandro Ludovico, Ilia Malinovsky, Alex McLean, Special guest, Julian Rohrhuber, Alexei Shulgin, Leonardo Solaas, Mitchell Whitelaw, Renate Wieser.
This book discusses projects and research completed in the framework of the Readme 100 Temporary Software Art Factory, which took place in Dortmund in November 2005 and was co-organized by Hartware MedienKunstVerein. It deals with the topic of production as it relates to software, software art and software cultures. Thus, it focuses not only on software as a product itself, but also on the experiment of its production through methods including outsourcing, use of open source solutions and self-production…
Topics addressed include economies of arts, desire and openness, harmony of markets, the unmarketable, reverse outsourcing, resistant mapping and others. The result is a multi-faceted collection of project descriptions, illustrations, research texts and features relating to the theme of software art production.
German readers can purchase the book through Amazon.de at:
Others, please, order it through your local book dealer using the
Readme 100. Temporary Software Art Factory
ed. by Olga Goriunova
paperback / 168 pages
published by BoD GmbH, Norderstedt
English edition / ISBN 3833443693 / euro 12
Talk at the Ecole Nationale Supérieure des Beaux-Arts de Paris. Programme Culturel, “Contemporain(e)s”, organized by Guillaume Paris.
From 16th to 31st of March 2006 at physical spaces: Palais de Tokyo (Paris), NICC (Antwerp) and Careof (Milan). Curated by Daniele Balit and Pierre Mertens. Supported by NICC, Love Difference et Cittadellarte-Fondazione Pistoletto.
The project is inspired by Michel Foucault’s concept of heterotopia.
In opposition to the non-places of utopy, the heterotopies (literally: places of diversity), are defined by Foucault as “other spaces” capable to receive diversity and possibility, without disconnecting from the real world. Neterotopies are thus inserted in the media communication system, respecting its rules and limits, at same time attaching a new significance to advertising spaces.
Artists and websites: Christophe Bruno (liberation) – Ghazel (sortiraparis.com) – Susan Hefuna (movies.tenuae.com) – Nathalie Hunter (google.com) – Yuji Oshima (arman.fm) – Peter Lemmensand Eva Cardon (wunderground.com) – Adam Vackar (inrockutibles.com) – Stephen Vitiello (villagevoice.com) – Luca Vitone (viamichelin.it) – Version (Gabriela Vanga, Ciprian Muresan e Mircea Cantor) (corriere.it) – 0100101110101101.ORG (film.it).
Presentation of my artistic activity at the workshop organized by the Centre de Photographie de Lectoure: L’exposition sur et pour internet. Table ronde with Christophe Bruno, Annick Bureaud, Fred Forest, Benoit Blein.
Christophe Bruno is a French net-artist (yes, like in net.art) based in Paris. His mostly web-related work deals a lot with questions related to language and has been widely shown. He gained a lot of recognition for his “AdWords-Happening” with which he has won a honorable mention at the 2003 Ars Electronica. He’s had his first solo-show at the gallery Sollertis in Toulouse and recently he was invited to Transmediale 06, where his “Human Browser” attacked the unsuspecting art-crowd with her googled ramblings. Being so prolific and funny, it’s about time that we take a closer look at Monsieur B!
Invited on Empyre – soft_skinned_space for March 2006. Guest are: Christophe Bruno (FR), Erik Kluitenberg (NL), Christiane Paul (US), Dirk Vekemans (BE), and as moderator/guest, Christina McPhee (US)
The topic, “Is modernity our antiquity?”, is proposed by Roger Beurgel, artistic director for Documenta 12.
“It is fairly obvious that modernity, or modernity’s fate, exerts a profound influence on contemporary artists. Part of that attraction may stem from the fact that no one really knows if modernity is dead or alive. It seems to be in ruins after the totalitarian catastrophes of the 20th century (the very same catastrophes to which it somehow gave rise). It seems utterly compromised by the brutally partial application of its universal demands (liberté, égalité, fraternité) or by the simple fact that modernity and coloniality went, and probably still go, hand in hand. Still, people’s imaginations are full of modernity’s visions and forms (and I mean not only Bauhaus but also arch-modernist mind-sets transformed into contemporary catchwords like “identity” or “culture”). In short, it seems that we are both outside and inside modernity, both repelled by its deadly violence and seduced by its most immodest aspiration or potential: that there might, after all, be a common planetary horizon for all the living and the dead.”
-Roger Beurgel, artistic director, Documenta 12
This topic is one of three leitmotifs to be brought into a world wide discussion that will occur throughout 2006 in advance of Documenta 12, in 2007. Documenta, the festival of art that occurs every five years in Kassel, has invited all of us at the -empyre- list to participate in a formal discussion around three questions, or leitmotifs, throughout this year. This month is the launch of our participation in this project, which will continue in July and November 2006, again with topics selected by the Documenta team. All over the world, some seventy online and print journals will initiate dialogue around three core questions; the results will integrate into Documenta 12 itself next year in Kassel ( 2007). -empyre- ’s archives for this month will find their place in print and / or online with the Documenta Magazine project in 2007 when the festival opens.
Talk at the Bibliothèque Nationale de France, “Contrées de la poésie numérique”. Invited by Claire Leroux et al.
Talk at the fourth Readme Festival, Temporary Software Art Factory, Dortmund. Presentation of my future project Cosmolalia. Curated by Inke Arns, Olga Goriunova, Francis Hunger and Alexei Shulgin, hosted by Hartware MedienKunstVerein.
Talk at the Rencontres franco-italiennes 2005, Ethique de l’Internet / Etica di Internet , Facoltà di Design e Arti, Rome and Venice, Italy.
Paris, Sunday, May 29, 2005 : Jérôme Piques v1.0, the first Human Browser, created by net artist Christophe Bruno, was experimented nearby a Parisian polling station.
This piece is a wireless Google hack : as I enter keywords in a Wi-Fi pda, to briefly describe the actor’s context, a program on a laptop uses these keywords as search strings in google. Then the laptop sends a text-to-speech audio of the search to an actor who then repeats what he’s getting via the headphones.
“As a new epidemic of Turing Syndrome is spreading in France, unable to decide of its own future, the Human Browser offered to help the nation. During a few hours, thanks to its brand new Wi-Fi connection and its amazing ability of real-time Web-mining, the Human Browser tried to invest on language derivative by-products, in a deflationary global semantic market.“
Talk at the Ecole Nationale Supérieure des Beaux-Arts de Paris. WYSIWIS ( “What You See Is What I See”). Contre-conférence with Ewen Chardronnet, Christophe Bruno, Liliane Schneiter, les ateliers AAi et Momac Paris 8. Organized by Béatrice Rettig, Jean-Baptiste Bayle, Anne Laforêt.
Seminar and workshop at Aarhus University. Aestetisk Seminar: Global Google-Artist invited at Aarhus. Title: iterature.com, the Web as a global text.
I present several artworks which deal with new language phenomenons on the Web. The understanding of these phenomenons, which arise for instance by subverting global discursive structures like Google, might allow to grasp notions such as “the large scale structure of language”. I will also introduce concepts such as “semantic capitalism”, “taylorisation of discourse” and discuss their implications in the “Age of Access”.
Interview at Radio BFM, by Luc Fayard, Chief Editor of the french magazine 01 Informatique.
Talk at the Videoformes Festival 2005, Clermont-Ferrand. “Penser / classer / détourner le Web”
Talk at the “Mondays of the Arts, Cultures, and Numeric Medias” at the Sorbonne, in Paris: “Net Art: Aesthetics, Experiences, Perspectives”. Speakers: Annie Abrahams, Christophe Bruno and Timothée Rolin
Two featuring texts published on runme.org and in the Read_me 2004 book, about the software utility Pawsense and the computer language Brainfuck.
First performance of Human Browser ever, with Jérôme Piques.
« Some time of available human brain »
« There are many ways of talking about television. But in a business context, let’s be realistic: basically, TF1’s job is to help Coca-cola, for example, to sell its product (…). However, for an advertisement to be perceived, it is necessary that the brain of the spectator should be available. The role of our programs is to make it available: i.e. to entertain it, to relax it in order to prepare it between two messages. What we sell to Coca-cola is some time of available human brain (…).Nothing is more difficult than obtaining this availability. There lies the permanent change. It is necessary to seek at all times the programs that will fit, to follow the latest fashions, to surf on the trends of the moment, in a context where information accelerates, multiplies and gets more pervasive. »
Patrick Le Lay, CEO of TF1 (French TV channel), July 2004
Sep 9-30, 2004: invited blogger on the French online magazine fluctuat.net: “The Web before the Web”
A glimpse beyond search engines, text published in the Read_Me Book (Read_Me 2004 Software Art Festival, Aarhus, Denmark. Curated by A. Shulgin, O. Goriunova, S. Pold & al.)
Verb thou art, and unto verb shalt thou return
In the present paper, I describe briefly some projects (that do not exist as yet) which one can see either as possible utilitarian global structures or as art-fiction pieces subverting these structures.
Presentation of the Google Adwords Happening at the round table about hacktivism, Workshop Art-oriented Programming, Sorbonne, Paris.
Presentation of WiFi-SM at the Carrefour des possibles de la F.I.N.G. (Fondation Internet Nouvelle Génération).
Sep 12 – Oct 25, 2003: exhibited in the Tirana Biennale 02: “U-Topos”, New Media Section Curated by V. Grancher
The Google Adwords Happening awarded at the Netizens Webprize 2003.
GogolChat awarded at Machinista 2003, category: machine as the artist’s co-author.
Presentation of my artistic work at the Ecole des Beaux-Arts de Nancy
World Wide War, talk at the Ecole des Beaux-Arts de Rennes
You can’t copy me!, text published on Rhizome.org
Like many people, I like the idea that www is a place where duplication has no limit. Anybody can download a media and re-use it. Sometimes you are faced with legal problems, this is part of the game. But also, I like the idea that there are things you can’t copy.
Dec 9, 2002: exhibited on javamuseum.org, Actual Positions of French Net Art, curated by Agricola de Cologne.
Open Cat, text published in the Vigil of Planetary Net Art, Second issue (on chairetmetal.com).
Misusing technologies, summary of the transcript of a lecture given at CHIPS Seminar 2 (Consumer Hybrid Information Products and Services). Published in Report on CHIPS seminar 2, Universitat Pompeu Fabra, Barcelona.
The “Google Adwords happening” was a web performance where text ad were delivered whenever someone entered search term like “symptom” on the Google search engine. In my website I outline my ideas about Semantic Capitalism, and show that the word “sex” is worth $3,837 and the word “art” $410. The underlying lesson, however, is both commercial and cultural. Words have value, largely because they connect potential customers to merchants selling what they are looking for.
Aug. 27 – Sep 7, 2002: Non-weddings exhibited at Vidarte 2002, Mexico City. Database Desire, curated by Rudolf Frieling (ZKM).
Statement by Rudolf Frieling:
« (…) Another net based project in search of our relationship towards images as a cultural code, more humourous, yet at the same time deeply philosophical, is Christophe Bruno’s Non-weddings which makes use of the ubiquitous Google-apparatus as a search-engine. It employs this tool for a net-based dyptich that is based on the supposed dualism of two keywords that serve as a search tool. The play is, as the author states, on the linguistic set of signifier and signified, on a secondary level on the reading of this set by Jacques Lacan, and on a third level on the friction between language and a mere trace of an image that is only in some arbitrary way related to the search word. Deconstruction, here, is coined “non-wedding”, i.e. the matching of things that do not belong together. The friction is the infinite source of “jouissance”, as the French theorist says. We rejoice in the multiple shifts of meaning that occur between a preconceived notion of a term/image relation and the non-wedded results. We begin to wonder how a term can possibly be related to an image at all. »
Presentation of the Google Adwords Happening at the E.N.S.C.I. (Ecole Nationale Supérieure de Création Industrielle). Carrefour des possibles de la F.I.N.G. (Fondation Internet Nouvelle Génération).
Mar 7 2002: exhibited at whitneybiennial.com, New-York/Online initiated by Miltos Manetas and curated worldwilde by Lev Manovich, Olivier Zham, Hans Ulrich Obrist, Michele Thurz, Magda Sawon and many others.
2000/2001 : chargé de cours à l’École Supérieure des Beaux-arts de Toulouse : participation à la mise en place du département Multimedia / Internet, suivi d’ateliers et de réalisations des élèves.