Grégory Chatonsky
| Grégory Chatonsky | |
|---|---|
|
Grégory Chatonsky | |
| Born |
May 4, 1971 Paris (France) |
| Nationality | French |
| Occupation | Artist and writer |
| Movement | Internet art Photography Installation art |
Grégory Chatonsky (May 4, 1971) is a French Artist who works with interactive installations, networked devices, photographs and sculptures. He explores the relationship between technologies and affectivity creating new forms of fiction.
Early life and education
After completing studies in Visual Arts and Philosophy at La Sorbonne Pantheon-Sorbonne University, Grégory Chatonsky began his Masters Degree at the ENSBA and at ENST finishing in 1999. In March 2016 he was awarded his PhD from Université du Québec à Montréal for his dissertation: ’’Esthétique des flux (après le numérique)’’.
Work
Grégory Chatonsky is one of the early practioners of Internet art having founded in 1994 (with Karen Dermineur) incident.net, an Internet art collective exploring the notions of the accidental, the glitch and unpredictibility. During this early period of internet he created the website of ’’Centre Georges Pompidou’’. From 1994 to 1997, Chatonsky, researched, wrote the screenplay and produced the CD-ROM, Mémoires de la Déportation, about deportations and the Holocaust in France.[1] From the mid-nineties Chatonsky produced films, audios and code-based work for the internet, including Counter (1995), a website that existed solely to count visitors, 2fresh (1997), a snippit of HTML script, and La Vitesse du Silence (1999), a netart performance piece.
Produced at the C³ Center for Culture & Communication Foundation (with Reynald Drouhin) and at Biennale d’art contemporain de Montréal, Revenances (1999) was an online performance work that invited the viewer to slow down their browsing and consider glitches and pauses as spaces where “ghosts” may interact.[2]
Chatonsky divides his time between France and Canada. He has taught at Le Fresnoy-Studio national des arts contemporains, France and at Université du Québec à Montréal’s School of visual and media art.
Bibliography
Boutet de Monvel, Violaine (2008) ”La destruction comme point de départ à une sémiotique libérée”. Paris Art. Retrieved Nov 21, 2016
Couchot, Edmond (2007) Des images du temps et des machines dans les arts et la communication. Éditions Jacqueline Chambon-Actes Sud. Paris
Doyon, Frédérique (11 October, 2007) “Le septième art de demain” Le Devoir, Montréal. Retrieved Nov 21, 2016
Fan, Ruan (28 April 2015) "French artist explores future archeology". China Daily. Beijing ¢
Lechner, Marie (15 April, 2014) ”Entretien croisé entre l’artiste Grégory Chatonsky, concepteur de Capture, et le musicologue Peter Szendy”. Libération. Paris Retrieved Nov 21, 2016
Miguirditchian, Julie (2010) "Artist in the flow”. Digitalarti Mag Retrieved Nov 21, 2016
Mufson, Beckett (15 May, 2015) “Here Are Imaginary Fossils from a Post-Human Earth”. The Creators Project Retrieved Nov 21, 2016
Murphy, Jay (2009) “A fiction without narration”, thing.net Retrieved Nov 21, 2016
Palmiéri, Christine (2013) "Fossilisation du futur", Archée Retrieved Nov 21, 2016
Poppper, Frank (2006) From Technological to Virtual Art. MIT Press. Boston
Thome de Souza, Kevin (25 March, 2014) “Grégory Chatonsky’s Capture: generative art pushed to its limits”. Amusement Retrieved Nov 21, 2016
References
- ↑ "Interview with Grégory Chatonsky". scart, Belgium. 22 June 2012. Retrieved 20 November 2016.
- ↑ Saemmer, Alexandra (February 5, 2010) "Digital literature. A question of style", in Reading Moving Letters: Digital Literature in Research and Teaching, A Handbook, ed. R. Simanowski, J. Schäfer, et P. Gendolla. Transcript-Verlag, Bielefeld. Germany