Previous Posts by Month
By
Marisa Olson
on Friday, July 4th, 2008 at 2:33 pm.
Steve Lambert's Add Art project (a 2008 Rhizome Commission co-developed with the artist's colleagues in the Eyebeam R&D lab) offers home-delivery art exhibitions in the form of your Firefox browser window. Internet users who download Lambert's free open source plug-in will see an aesthetic overhaul in the sites they visit, as advertisements are replaced by visual art created or curated by a different guest, every two weeks. The project is a perfect outgrowth of Lambert's involvement with the Anti-Advertising Agency, who work to co-opt "the tools and structures used by the advertising and public relations industries" to call into question "the purpose and effects of advertising in public space." These efforts have manifested in forms ranging from bus shelter ads and stickers to ideologically-bent think tanks and objects of propaganda. With a keen awareness of the impact of advertising on public space, the move to the internet--where so many of us dwell and encounter a daily barrage of ads--is a thoughtful one. Rather than offering yet another software tool for blocking-out advertisements, Add Art fills this space with something more intriguing, and the biweekly exhibits that have thus far been presented successfully generate discourse about value, aesthetics, and the contextual frameworks within which we receive information about the world. The current show (imagine each ad box in your browser window as a gallery) is a rather humorous and almost absurdly literal take on the context of adding art to your field of vision by replacing ads with it. Charles Broskoski essentially blacks-out the ad boxes on sites with his contribution, which is a collection of digital reproductions of famous black monochromatic paintings, cropped, resized to the proper specs, and optimized for the net--meaning that these paintings by the likes of Rauchenberg, Kelly, Malevich, Marden, Reinhardt, and Rothko are whittled-down to a net-friendly two colors...Black and black. Previous shows have been a bit more pictorial. Sarah Cook curated one in which Monica Studer and Christoph van den Berg presented scenic vistas from their beautifully-rendered online "virtual hotel," Vue Des Alpes, exploiting the ad space as one of spectral fantasy. Brooklyn Museum curator Joan Cummins also took viewers to another space (and time) by using Add Art as an opportunity to frame images from Hiroshige's One Hundred Famous Views of Edo, a well-known series of masterwork images of Tokyo in the mid-1800s which are too fragile to show often in real space but which can now illuminate your screen. Artist Bennett Williamson's show took a more contemporary stab at site-specificity by exploring the cultural context of the internet. In Screenshots from The Computer Chronicles (resized and cropped), the artist pulled frames from this public TV show, which thrived in the 80s and 90s, and recontextualizes them in hopes of critiquing "the cultural logic of technological manifest destiny." He describes the images as simultaneously capturing our unfulfilled fantasies about the future and the imperfect reality of the present, referring to each still as "a window into the low-res past, full of the supposedly outmoded technologies that still form the kernel of our day-to-day computing experience." - Marisa Olson
Link »
Reblog
Originally
from i heart photograph
published by Ceci Moss
robert overweg's 'hidden persuaders' project. as he explains: "magazine ads are digitally retouched and ridden from their products, branding, and other type, leaving the bare visual surroundings...eroticized glitter and abstracted glamour unfolds. esthetics of consumption are laid bare in the process." see more here.
[all robert overweg. from the series hidden persuaders.]
Reblog
Originally
by sounder2
from spirit surfers
at July 2, 2008 7:19 pm
published by Ceci Moss
July 4, 2008
Understated, conceptual gestures predominate in "Quiet Politics," a timely group exhibition currently on display at New York's Zwirner & Wirth. Felix Gonzalez-Torres' single string of lights "Untitled" (for New York) (1992) hangs from the ceiling of the front room and ends, in a tangle, on the floor: an arrangement, at once elegant and casual, that the artist relinquishes to the person installing the work. Lining the gallery hallway are photograms from Lisa Oppenheim's series Multicultural Crayon Displacement (2008), in which the artist employs a vintage, additive color process to generate deceptively straightforward geometric abstractions. Color rectangles overlap in arrays of hybrid tones and, at their center, a fleshy pigment corresponds to one of the crayons in Crayola Company's 'multicultural' set. Oppenheim's additive production of multicultural colors thus parallels the way race is constructed and categorized in social discourse. A similar disjunction between representation and narrative is evident in Christopher Williams' eerie photographs of Harvard University Botanical Museum's collection of nineteenth- and early twentieth-century life-size, glass flowers. The species the artist chose were particular to twenty-seven countries flagged in a 1986 Commission on International Humanitarian Issues report for human rights abuses. As with Oppenheim's series, Williams' titles signal the conceptual envelope for these beguiling still-lives, listing the names of their origin countries and genus. While other strategies also enter the exhibition, this marriage of formal sophistication and social and political inquiry characterizes the most resonant works, underscoring a point recently made by Francis Alÿs, during his last exhibition at David Zwirner: "sometimes doing something poetic can become political, and sometimes doing something political can become poetic." - Tyler Coburn
Image: Lisa Oppenheim, Multicultural Crayon Displacement (Peach, II), 2008
http://www.zwirnerandwirth.com/exhibitions/2008/06...
By
Marisa Olson
on Thursday, July 3rd, 2008 at 10:55 am.
Initially, Elliott Malkin's new work, Graffiti for Butterflies, reads like a science fair project. One can just see the riveting subtitle, "Directing monarch butterflies to urban food sources along migratory routes in North America" taped-up in bold letters across the top of a trifold sign affixed with statistical charts and photographic evidence. In truth, this mostly internet-based project is a perfect spoof of the recent spate of R&D art experiments that saturate the web, performing rather than practicing science, even as it provides us with a series of informative links and nice photos of caterpillars and butterflies thriving in the wilds of midtown Manhattan. Malkin's big idea was to spraypaint printed decals of milkweed flowers (the food source of choice for Monarchs) with aerosol sunblock that reflects UV light, thus making it stand out to those creatures with "butterfly vision." The images are then to be placed remarkably close to the real thing they represent, in order to broadcast the signal (Malkin's got the techie language down pat) to the migratory creatures that they have arrived at a way station. He likens it to "the equivalent of a fast-food sign on a highway, advertising rest stops." A demo video, in simulated "butterfly vision," illustrates the process of creating these nouveau golden arches. It would be ironic if hordes of monarchs took the bait, as the same type of mimicry the artist invokes is a natural defense strategy often used by other species of butterflies hoping to masquerade as the poison creatures. So far, Malkin's only tested one "prototype," but it did manage to attract a butterfly who even colonized the potted milkweed with her own caterpillar eggs. Ultimately, he confesses to being more interested in distributing the idea than tagging the entire city himself. This shrugging-off of scientific responsibility -- a burden that tends to revolve around the affirmation of dominant paradigms -- in order to become his own open source way station for tagging instructions is totally in keeping with contemporary graffiti art (see, for example, Shepard Fairey and GRL). It will be interesting to see whether his concept takes on a migratory pattern of its own. - Marisa Olson
Link »
Reblog
Originally
from VVORK
at July 2, 2008 5:01 pm
published by Ceci Moss
"Fragments from the Edge of Los Angeles (detail 1)", 2001,
Preliminary image for "The Triumph of Democracy", 2008,
![B5_EtherStudy_[Ze].jpg](http://www.vvork.com/wp-content/uploads/2008/07/B5_EtherStudy_[Ze].jpg)
"ether machine", 2007,
"www.automaticcity.com", 2007 by Benjamin Edwards.
Reblog
Originally
from e-flux shows :: rss
at July 3, 2008 12:00 am
published by Ceci Moss
Yves Netzhammer, Furniture of Proportions (preparatory sketch), 2008; Courtesy the artist and Galerie Anita Beckers, Frankfurt, Germany; Copyright 2008 Yves Netzhammer
San Francisco Museum of Modern Art
July 10 through October 5, 2008
Room for Thought pairs two computer-generated video installations by Swiss artists Alexander Hahn and Yves Netzhammer that reveal a fascination with internal landscapes of the mind. Hahn's single-channel, interactive video projection Luminous Point (2006) allows the viewer to take a self-guided tour of a virtual simulation of the artist's Manhattan apartment, using a remote control to navigate a gamelike labyrinth of spaces derived from digital manipulations of photographic and filmic records. Where Hahn's hybrid space incorporates images of the real world, Netzhammer presents a poetic world of pure invention. Premiering at SFMOMA, his new three-channel, site-specific installation Furniture of Proportions (2008) incorporates highly stylized wall drawings, animation, and sculptural objects to create an intricate spatial narrative.
Organized by Rudolf Frieling, SFMOMA's curator of media arts, the exhibition occupies adjacent galleries and represents two generations of artists who have consciously worked with the computer as a formal artistic tool and means of expression. Both Hahn and Netzhammer combine a variety of traditional media with computer techniques in order to articulate a deep concern with the histories of philosophy and art. The artists also share an interest in human thought processes and the interplay between external images in the world and internal images in the mind. Undertaken as an open-ended investigation, their art is concerned with transience and states of change, and deals in surrealistic effects, associative thinking, and temporal multiplicity.
July 2, 2008
Why are new media artists so cool? Because they get to play with toys like spectroheliostats. What's a spectroheliostat? Google won't say, but it's probably some color spectrum device related to the heliostat, which uses a giant mirror to track the motion of the sun. Talk about painting with light... On July 5th, this device will be used in Solar Hills, a collaborative installation by British artist Liliane Lijn and Berkeley-based astrophysicist John Vallerga. Stationing themselves in the Marin Headlands' Hawk Peak, they'll follow the sun and create a light show viewable from San Francisco's Crissy Field, initiating a sunkissed marriage between earth works and lambent performance. And what better place to carry out this experiment than in California's Bay Area, an historic epicenter for digital media, environmental research, and beach activities like this one. The project is supported by the DMAX new media program at the Berkeley Art Museum/ Pacific Film Archive. More information, including up-to-the-minute weather-related updates, can be found on the program's blog. - Marisa Olson
Image: Solar Hills, Liliane Lijn in collaboration with John Vallerga, Jason McPhate and Patrick Jelinksy. Photo credit: Liliane Lijn, Richard Wilding
http://dmax.bampfa.berkeley.edu/blog/2008/07/solar...
Reblog
Originally
by Enrico
from VernissageTV art tv
at July 2, 2008 5:15 am
published by Ceci Moss
In the context of the group show "Word Event"; at Kunsthalle Basel, artist André Avelãs installed his sound-installation "Untitled (Kunsthalle Basel)" consisting of used loudspeakers, amplifiers, record players and mixing consoles. The installation has been set up in different venues already, the first time in 2005 -- "Untitled (Rietveld)" -- and since then always changes a little bit. This video documents AAndré Avelãs performance on the occasion of the opening of the exhibition "Word Event" at Kunsthalle Basel. André Avelãs(born 1976 in Caldas da Raihna, Portugal, lives and works in Amsterdam) is part of DNK Amsterdam, a concert series for new live electronic and acoustic music. Kunsthalle Basel, June 28, 2008.
[CONTINUED]
Reblog
Originally
from Rhizome.org Announcements
at July 1, 2008 10:23 am
published by Ceci Moss
TODAY is a piece of generative design for mobile phones.
It's an application that visualizes personal mobile communication. It sits on the periphery of the machine, monitoring our connectivity through the number and type of calls we receive, subtly displaying them back to us, in the form of a generative graphic. Here, the visual result is a figurative and seemingly abstract picture -- the story of your day. Some days will be really colorful and wired, others quieter and more reflective, either way the resulting visuals will always be personal, unrepeatable and unique.
What lies at TODAY's core was the idea of using personal data as the basis for an aesthetic system, while providing individuals with a visual diary of their communication patterns.
It's an intimate piece that "lives" in your pocket.
It's freely distributed for Symbian phones at http://today.cada1.net
Credits:
A Project by CADA --
www.cada1.net
Idea and Design: Sofia Oliveira/Jared Hawkey
Symbian Programming: Heitor Ferreira
Site Developer: Damian Stewart
Second phase of development funded by: DGArtes, Ministerio Cultura, Portugal
Type →
work,
announcement
Genre →
tech
Keywords →
broadcast,
digital
By
Tyler Coburn
on Tuesday, July 1st, 2008 at 2:40 pm.
"Private fears and shared desires" take the public stage for "Tarantula," a month-long film and video program projected on Europe's biggest LED wall, in Piazza del Duomo, Milan. In collaboration with MIA (Milano In Alto) and Fondazione Nicola Trussardi, which is dedicated to finding "new channels and strategies to distribute contemporary art in the city of Milan," curator Massimiliano Gioni has invited fifteen contemporary artists to screen works twice a day on a screen normally reserved for commercial advertising. Certain works build upon this strategy of intervention, like Pipilotti Rist's series of sixteen one-minute video segments, Open My Glade, originally commissioned by the Public Art Fund, in 2000, to air on the NBC Astrovision by Panasonic video screen in Times Square, New York. Other notables include the film component of Johanna Billing's You Don't Love Me Yet project, documenting the studio recording of Roky Erickson's eponymous 80s pop hit by more than twenty singers; Fiorucci Made Me Hardcore (1999), Mark Leckey's nostalgic chronicle of cross-sections of British dance culture from the 70s and 80s; and Dictio pii(2001), a parade of high-fashion outfits repurposed, by artist Marcus Schinwald, as disturbing fetish-objects. Like the Bob Dylan novel from which it takes its title, "Tarantula" presents rituals public and private, compulsive and fanciful, to show the ways "new rules and behaviors can transform life into a joyful carnival of exceptions." - Tyler Coburn
Image: Mark Leckey, Fiorucci Made Me Hardcore, 1999
Link »
Reblog
Originally
by Cliff Kuang
from Delicious Ghost
at July 1, 2008 9:04 am
published by Ceci Moss
Work from digital artist Kari Altmann. More:
[CONTINUED]
By
Marisa Olson
on Tuesday, July 1st, 2008 at 11:42 am.
To say that the internet is teeming with data or overflowing with information would be both an understatement and an almost unquantifiable fact, given the ever-shifting shape of the net. But even if the web's state of being is hard to pin down, artist Richard Wright is intrigued by the concrete ways it has contributed to the evolution of communication. In his upcoming exhibition, "How to Talk to Images," at London's HTTP Gallery, the artist presents new work resulting from his residency with HTTP founders Furtherfield.org that continues his exploration into the pictorial history of language. An established film and video artist, as well as a pedigreed new media practitioner and theorist, Wright's show makes a statement about the way that we use images to speak and our new habits of "searching" for, rather than truly seeing visual images. He's created a database of 50,000 random internet images in order to create two works that play with the communicative structure and users' expectations with regard to online searches. The Internet Speaks forces users to skip through the files one at a time, letting the material's statements come to the viewer, rather than allowing them to impose meaning. Meanwhile, The Mimeticon uses the same database but requires viewers to find images not by searching for keywords but by browsing by visual similarities. The latter is positioned as a Baroque search engine, invoking a time of decadent formal experimentation and mechanical development. The show runs July 4th-August 3rd and coincides with the release of a monograph on the artist's work as well as a poster featuring an essay by Wright, illustrated with typefaces marking the evolution of the western alphabet. While his thesis on searching versus seeing implies a new short-term memory on the part of web users, this show promises to be a memorable contribution to conversations about online communication. - Marisa Olson
Link »
Reblog
Originally
from Loreto Martin
published by Ceci Moss
Photograph: Ray Tang/Rex Features (source)
Tate Britain Duveens Commission
2008: Martin Creed Work No. 850
Tate Britain Duveen Galleries
Tuesday 1 July -- Sunday 16 November 2008
A runner will speed through Tate Britain's dramatic neo-classical sculpture galleries, again and again, running as if their life depended on it, every day for the next four months.
http://www.tate.org.uk/britain/exhibitions/duveenscommission/default.shtm
By
Rhizome
on Monday, June 30th, 2008 at 5:39 pm.
For those who were unable to attend the Net Aesthetics 2.0 panel at the New Museum on June 6th (or watch the webcast), we now have an MP3 of the talk available online. Over the past month, the panel has generated active (and heated) discussion on Rhizome's boards, on topics such as net art versioning, the "epic" in net art, surf blogs, and the definition of net art.
Big thanks to Billy Rennekamp for his help with the recording
By
Ed Halter
on Monday, June 30th, 2008 at 2:49 pm.
Sex and teletext, e-commerce and elektronische tanzmusik collide in The Sound of eBay, the latest internet intervention (and a 2008 Rhizome Commission) from Ubermorgen.com, which generates unique low-fi electro tunes from individual users' eBay data. Visit the project's site, generously decorated with 8-bit teletext porn, and enter your (or anyone's) eBay moniker and an email; a specially-tailored mp3 arrives in your inbox in a matter of hours. According to Ubermorgen.com's own account, an invisible army of bots scours the World's Largest Online Marketplace (tm) to scrape data and bring it back to be transformed into music. How a given user's actual data corresponds to the structure and content of each tune is not evident to the listener, but relates to the eBay-Generator application's own idiosyncratic system of producing and processing hashsums from user-to-user transactions: more frequent eBay bidders may receive denser compositions, and two different songs created from the same username can differ. In the future, the creators of eBay-Generator plan to release the application under a GNU Public License. The Sound of eBay concludes a trilogy of works by Ubermorgen.com--otherwise known as the artists Lizvix and Hans Bernhard--including GWEI (Google Will Eat Itself), an economic ourouboros that generates money off Google text ads then uses the income to buy Google stock, and Amazon Noir, which exploited Amazon's "search inside" function to create pirated versions of full books. Unlike these latter acts of digital ju-jitsu, the parasitic Sound of eBay has a relatively benign relationship to its host organism. Celebrating with only partial irony the auction giant's peer-to-peer distributed capitalism, the Sound of eBay offers a way to shake one's booty to the hidden rhythms of electronic commerce. - Ed Halter
Ubermorgen.com, the Sound of Ebay "Visuals" (Screengrab), 2008
Link »
Reblog
Originally
by bexta
from Eyebeam News
at June 26, 2008 9:32 am
published by Ceci Moss
Interactivos?: Better Than the Real Thing
Dates: June 27 -- July 12, 12 -- 6PM
Location: Eyebeam, 540 W. 21st St., NYC
Cost: Free
http://www.eyebeam.org/learning/learning.php?page=interactivos
Stay tuned for the official Interactivos? project website launch!
Join Eyebeam daily between June 27 and July 12, from 12 -- 6PM to witness the transformation of Eyebeam's main space into a lab for the creation of interactive art projects.
From an open-call, Eyebeam selected nine new projects to be realized by artists from around the world, with the collaboration of Eyebeam resident artists and fellows and over two dozen very skilled artists, engineers, musicians, programmers, designers, and hackers (also selected from an open call). The projects investigate interactivity in all of its forms, and usually feature a mix of hardware tinkering, software coding, and conceptual hacking.
During the intensive two-week Interactivos? workshop, the lab will be open and the public are welcome to drop in, see the artists and collaborators at work, and participate in discussions, critiques, and other social activities investigating interactivity in the context of this year's Interactivos? theme: the blurry line between the real and the fake. A full schedule of events will follow. On July 12 the lab will be transformed into an exhibition, Double Take, which will be on view through August 9.
Interactivos? was initiated two years ago by the Medialab-Prado program and the Madrid City Council. This is the first time it has taken place outside Spain.
The full list of projects can be found here:
http://www.eyebeam.org/learning/learning.php?page=interactivos
and an additional Interactivos? project website will be launched during the next two weeks.
Reblog
Originally
by Redazione Digicult
from Rhizome.org Recent Discuss Posts
at June 30, 2008 7:10 am
published by Ceci Moss
Digicult presents:
DIGIMAG 35 / JUNE 2008
http://www.digicult.it/digimag_eng/index.asp
The english version of Digimag, Digicult monthly e-magazine of digital culture and electronic arts, is available online
You can read all the past articles and issues in the Archive section here:
http://www.digicult.it/en/Archive/
....................................
[INTERVIEWS]:
- MARC GARRET & RUTH CATLOW by Marco Mancuso
- THEODORE WATSON - by Marco Mancuso
- MARIANNE WEEMS - by Annamaria Monteverdi
- BORIS DEBACKERE - by Lucrezia Cippitelli
- ANDERS WEBERG - by Valentina Tanni
- KOAN01+OOTCHIO - by Giulia Simi
[REPORTS]:
- SONAR 2008 - by Alessandro Massobrio
- OFFF LISBONA - by Barbara Sansone
- TTV FESTIVAL - by Silvia Scaravaggi
- MULTIVERSITY - by Marco Baravalle
- DEGRADARTE - by Salvatore Iaconesi and Oriana Persico
[FEATURING]:
- CHARLEMAGNE PALESTINE IN MILAN - by Alessio Galbiati
- THE LAST SUPPER BY PETER GREENAWAY - by Claudia D'Alonzo
- A SHOW ABOUT FRIENDSHIP - by Massimo Schiavoni
[THEMES]:
- WE ARE NOT ALONE - PART 2 - by Salvatore Iaconesi and Oriana Persico
- L'INVISIBILE NELLA SCIENZA - by Luigi Ghezzi
- THE GRIEFERS - by Monica Ponzini
[COVER]:
- Marco Mancuso - Bit International Exhibition - Zkm Karlsruhe
[TRANSLATIONS]:
- Virginia Cavalletti, Francesca Magnaghi, Ornella Pesenti, Chiara Resmini
....................................
DIGICULT is a cultural project involved in digital culture and electronic arts. The DIGICULT project is directed by Marco Mancuso and based on the active participation of 40 professional people about, who represent a wide Italian network of journalists, curators, artists and critics working in the field of electronic culture and digital art. And on a multitude of updated strategies around new media communication, web 2.0 and networking activities. Translated in english, DIGICULT is today a web portal updated daily with news and , but it's also the editor of the monthly magazine DIGIMAG, discussing with a critic and journalistic approach, about net art, hacktivism, video art, electronica, audio video, interaction design, artificial intelligence, new media, software art, performing art.
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Type →
announcement
Genre →
tech
Keywords →
digital
June 30, 2008
The music video for Mariah Carey's recent single, "Touch My Body," begins like many classic pornos: Unwitting nerd rings doorbell, half-naked bombshell babe answers the door, contracted labor assignment is soon interrupted by a romantic interlude with a thumping soundtrack...The song is Carey's foray into reaching out to the the geek set, and includes references to software upgrades, laser tag, and of course...YouTube! The video has over sixteen-million hits on the video-sharing site and, naturally, all of this makes the piece very attractive to an artist like Oliver Laric, who has a keen interest in digital culture and pop remixes. The artist's newest piece is an edit of Carey's video, with everything (the "compunerd," the house, etc) but the singer masked out in green to encourage chroma-keyed remixes by online viewers. Ironically, Carey's lyrics speak not only to a mainstream paranoia about surveillance and privacy intrusions, but moreover drops hints about sharing footage online. She sings, "If there's a camera up in here then it's gonna leave with me when I do. If there's a camera up in here then I best not catch this flick on YouTube." Naturally, this is exactly what Laric is hoping will happen--and no doubt Carey herself. Fame is nothing if not a self-production and Laric's taken this to heart in leaving the title of the video the same and modifying his YouTube video tags to attract more viewers. His real hope is not that the piece will become an artworld cause célèbre but that the larger public of YouTube surfers will adopt the piece and post remixes of their own. The key point made by removing the superfluous imagery from the video's 5,000 frames is that, with her "come hither" gestures and the invitation "touch my body," Carey's certainly asking for it. - Marisa Olson
http://oliverlaric.com/touchmybody.htm
By
Marisa Olson
on Friday, June 27th, 2008 at 1:27 pm.
The word "systems" is often used to describe the work of Jeanne van Heeswijki, and now the Netherlands-based artist has released a book by that title. In the ongoing interest of exploring the relationship between human and non-human systems, van Heeswijk's projects are worth a closer look. Often working site-specifically, on the basis of residencies, her modus operandi is to enter a community and invite its inhabitants to speak for themselves. This tactic has played-out in a number of ways ranging from inviting other artists to occupy her studio to inviting local schoolchildren to comment publicly on their harsh living environment. She describes this work as making "cultural models for public spaces," begging the question of what defines both these models and these spaces. A few of her projects have been "controversial," if only because these cultural models seems to call for sites of contestation, debate, and reconciliation. It's clear that the notion of an easy route does not compute in Heeswijk's approach to her practice, and -- usually working in collaboration with others -- she often eschews personal credit for the scenarios she concocts in order to place the emphasis on the intended beneficiaries of these designed encounters. But this lack of glory-seeking shouldn't be confused with a laissez-faire attitude. In truth, she belongs to a new generation of artists working to retool the relationship between art, activism, and public participation. It is the vocabulary of social codes and game-playing that regulates the artist's work and brings it into conversation with other network culture-based performances. Like many activist tomes, Heeswijk's new book functions much like a cookbook offering recipes for the assembly of such models. It is also partly a monograph on her previous work, which one can imagine does not lend itself to traditional documentation, and even more significantly, a manifesto on the importance of experimentation, social interaction, and the freedom to act out. - Marisa Olson
Link »
Reblog
Originally
from Rhizome.org Announcements
at June 27, 2008 9:10 am
published by Ceci Moss
An international competition for electro-acoustic music and video
The Leonor Hirsch Award is a new competition open to living artists of all ages and nationalities which aims to promote the creation of avant-garde culture through music and image. Submissions will be mixed media works of electro-acoustic music with a visual component in video. The Award is administered by the Bunge y Born Foundation. A complete list of rules and requirements can be found at
www.fundacionbyb.org/ingles/
The award will be a single, non-divisible prize of $10,000. The winner will be selected from three finalists, whose works will all be performed at a closing concert. The costs of transportation to the city of Buenos Aires will be covered for the performing finalists.
The three finalist works will be announced on September 22, 2008.
Deadline: July 15, 2008 (postmark date)*
*NOTE: Extended deadline! The previous deadline was July 1.
Participation is free of charge. The composers entering must only cover the relevant postage costs.
The final winner will be announced on October 22 at a ceremony held before the final Leonor Hirsch Award Concert, in Buenos Aires, Argentina.
The members of the Jury of the Leonor Hirsch Award are Gerald Bennett, Francisco Kropfl, and Nina Colosi.
For further details about the submission rules and registration form, please consult
http://www.fundacionbyb.org/ingles/
Type →
opportunity,
announcement
Genre →
work
Keywords →
audio
Reblog
Originally
from ***/*
at June 27, 2008 4:42 am
published by Ceci Moss
no title
Image of a work by Berlin-based art group Aids-3D
By
Ceci Moss
on Friday, June 27th, 2008 at 12:44 pm.
Four Thousand and Seven Horizons (2007) by Lizzie Hughes
From the artist's statement:
4,007 photographic images (one for each ten Kilometers of the earth's circumference) were sourced from photo sharing websites. The images, largely holiday snaps, were cropped to exclude any geographical, architectural or other reference points and the resulting images re-scaled (so that the horizon ran directly through the center of the frame) before being ordered on a time-line according to color. With the images being sourced from unknown locations across the globe, the work aims to document an imaginary line, which ultimately describes the curvature of the earth.
June 27, 2008
One of the recent Public Art Fund projects to infiltrate the streets of New York City, James Yamada's Our Starry Night comprises a freestanding aluminum structure rigged with 1,900 colored LED lights. Installed in the Doris C. Freedman Plaza at Fifth Avenue and 60th Street and flanked on three sides by Central Park, The Plaza Hotel, and Apple Store's transparent, cuboid exterior, Yamada's work is out-of-place enough to feel strangely at home. The 12-foot sculpture bears resemblance to a psychedelic flower with a cut in its center, through which visitors can pass. Metal detectors embedded within the work's casing activate the arrays of LED lights on its exterior, producing light patterns and levels of luminosity that correspond to the amount of metal on each visitor. But while visitors active the artwork -- and thereby affirm its "public" nature -- the light patterns are only visible to viewers standing on the exterior of the piece. It thus falls upon these detached observers to monitor a given visitor's occupation of the passageway and draw inferences from the intensity and variety of the accompanying light patterns. In a beautiful and deceptively benign way, Yamada's work forces visitors into partial positions of engagement, in which interactivity and observation carry undertones of surveillance and control. - Tyler Coburn
Image: James Yamada, Our Starry Night, 2008 (Photo by Seong Kwon, courtesy of the Public Art Fund.)
http://publicartfund.org/pafweb/projects/08/yamada...
By
Marisa Olson
on Thursday, June 26th, 2008 at 2:52 pm.
What is one to do with all the world's magnetic tape, now doomed for dustbins and landfills as digital files push out the slinky black tendrils that preceded them in the family tree of recording media? Audio cassettes, VHS tapes, and those ancient vinyl records that came before them were the medium of choice for entire epochs of cultural production and, as such, have stored not only many of the world's most important creative moments, but also a large percentage of German artist Gregor Hildebrandt's personal nostalgia-fodder. Interestingly, it is preservationists and conservators who persist in using these materials to store works, and Hildebrandt's own practice certainly crosses similar territory by serving as a sort of memory repository. The artist uses old tapes to create portraits, sculptures, and other installations. His "magnetic tape on photocopy" pieces (such as Als würde ein Engel kommen (Cure), 2007) force a juxtaposition between two forms known for rendering low-fidelity or "lossy" copies, while creating a rupture, like a trickle of black blood, down the otherwise seamless faces of perished movie starlets and forgotten supermodels. For Schallplattensäule (2007), he built a tall stack of compression-molded vinyl records, a totem whose invisible icons are indistinguishable from the matter on which their aural likeness are encoded. Many of his works consist of cassette tapes, uncoiled and stretched out across canvas, with letters or shapes often cut out into negative space images seemingly volunteering for battle in a duel against "ancient" photography for the prize of best black and white image format. In Kassettenschallplatte (2003) Hildebrandt made the bold move of melting a cassette into the form of a vinyl record, and the result is a gloppy, rust-colored monument to the failure of media to cross-breed. Check out more of his work online for evidence that tape will never die, so long as artists like Hildebrandt continue to have a say. - Marisa Olson
Image: Gregor Hildebrandt, The Carny N.C. (San Michele), 2004
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Reblog
Originally
by M.River
from MTAA Reference Resource
at June 22, 2008 1:22 pm
published by Ceci Moss
xandxx
10 netartworks I was interested in around 10 years ago and 10 from the last few years.
Note - This is not a "best of" list. It is just some works that I think about for time to time. I've added a MTAA work in the netart_x section only because it was done with Eryk Salvaggio and his website from that time (one38.org), like so many works from that time, is gone. Seeing as I've left off a good many netartworks that I like, I may (or may not) change the list from time to time. I think of xandxx as an netartwork. I hope to live long enough to add a netart_xxx section in 2018 on the longest day of the year.
Nice list from Mike/MTAA compiling recent and decade-old netart projects.
By
Ed Halter
on Thursday, June 26th, 2008 at 10:36 am.
Raquel Meyers's vividly animated videos for chiptuners like Jellica, Bubblyfish, and Glomag mirror the music's retro-tech aesthetic with 8-bit visuals and narrative elements lifted from the era of 2-D videogames. While many will spy the influence of Paper Rad in the Madrid-based artist's work-- particularly the Rad's more ludic pieces like Robert Parish or their Cory Arcangel collabo Super Mario Movie -- one might easily argue for an even older lineage stretching back to Lillian Schwartz's Op-Art-inflected computer films of the early 1970s or the imaginary landscapes of Jane Veeder's seminal 1982 real-time graphics tape Montana. A connection to the latter can be especially espied in Meyers's The Emperor's New Snuff Box, a mostly black-and-white collage of mountain ranges, spinning cubes, strobing patterns and an unnervingly faceless galloping horsething, perfectly complementing the ominous, static-punctuated music. Other clips show off a more colorful playfulness, but always with notable bits of edge. A video to accompany Prince remake I WLD DI 4 U features pixelly kitties being adorably crushed to death and ascending to heaven; with videogame logic, each one of the cat's nine lives is ticked off in a top-left countdown. Follow the Red Dots places a Minnie Mousean character in a Super-Mario-like pellet-eating adventure, while FuriousClubfoot stars a crustacean-headed boogaloo dancer traipsing across a burning city. Meyer's latest video, for Los Punsete's 2 Policias involves a band of beer-drinking bunnies, public urination, and police brutality, all done in the Meyers's densely-layered cute-brut style. - Ed Halter
Image: Raquel Meyer, Follow the Red Dots
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Reblog
Originally
from VVORK
at June 26, 2008 5:35 am
published by Ceci Moss
"Der Zermesser";, 2007 (Video) and
Wavesynth 2.0, 2007 by Leo Peschta.
By
Rhizome
on Wednesday, June 25th, 2008 at 1:10 pm.
Image: Angelos Plessas, Still from 'ElectricityComesFromAnother Planet.com' Proposal
We are pleased to announce the international group of artists who will receive grants through the Rhizome Commissions Program, this year.
Their projects will culminate in a variety of forms, from performance, to sound, to interactive websites and installation, to works that manifest across multiple disciplines. Each one pushes forward the field of contemporary art engaged with technology. All works will be completed by Summer 2009 or earlier, with information available on Rhizome.
The next call for commissions will take place in January 2009. Commissioned artists receive a grant and are invited to present their work at Rhizome's affiliate, the New Museum of Contemporary Art.
Marfa Webring, Jona Bechtolt, Claire Evans, Aaron "Flint" Jamison
In Marfa Webring, the artists Claire Evans, Jona Bechtolt and Aaron "Flint" Jamison will attempt to alter the Google search results for the town of Marfa, TX by creating a Webring and, then, (with the cooperation of the town's permanent residents) investigating the results of this action on the daily life of the town.
Case, Brody Condon
Brody Condon will re-create William Gibson's cyberpunk classic Neuromancer at a red barn theatre in rural Missouri with a local, former political activist in the role of the protagonist.
Untitled (Plate Tectonics), Andy Graydon
Andy Graydon explores sound as a building material. The project begins with field recordings taken at New York City arts institutions and manifests as phonograph records and a website where visitors are encouraged to add their own ambient recordings of installation and performance spaces.
Versionhood, Kristin Lucas
The artist Kristin Lucas recently changed her legal name from Kristin Sue Lucas to Kristin Sue Lucas and, thus, in her words, created "the most current version of Kristin Sue Lucas." In Versionhood, Lucas will consult with a range of experts on the concept of versioning and record the results on a public blog and a "How-to Refresh Yourself" manual.
Read project blog
Real Time, Joe McKay
Joe McKay will create a website and cell phone application that provide the user with their real time, based on their exact distance from the prime meridian not from the time zone they are in.
Young Man Was No Longer A..., Naeem Mohaiemen
Naeem Mohaiemen will produce essays, installations and performances exploring the loss of moments of possibility in relation to failed 1970s utopian revolutionary movements.
I Sky You, Maria del Carmen Montoya and Kevin Patton ** 2009 Member Selection
In I Sky You, Maria del Carmen Montoya and Kevin Patton will collaborate to produce an installation wherein the darkness of a room is intermittently broken by erratic bursts of chemically synthesized light as well as dissonant tones which respond to the unique luminescence and duration of each individual flare.
ElectricityComesFromAnotherPlanet.com, Angelo Plessas
Angelo Plessas's ElectricityComesFromAnotherPlanet.com is an interactive, browser-based work that will visualize the project's title: electricity from comes another planet. A neon landscape inspired by the movie Tron.
T.S.A. Communication, Evan Roth ** 2009 Member Selection
In T.S.A. Communication, Evan Roth will design and produce laser cut sheets of stainless steel bearing messages such as "MIND YOUR OWN BUSINESS" or "NOTHING TO SEE HERE." The sheets are designed for the air traveler to place inside of his or her carry-on bag and, thus, provide the T.S.A. x-ray machine operator with a political message. The year-long performance will be documented by the artist in various forms.
By
Marisa Olson
on Wednesday, June 25th, 2008 at 11:53 am.
A number of artists have started using textiles and needlework to explore the relationship between computer culture and craft. Here on Rhizome, we've recently covered Ben Fino-Radin, Sabrina Gschwandtner, Cat Mazza, and Cody Trepte, among others employing "traditional media" in the service of a technological critique. Not to be left out of this group is Christy Matson, a Chicago-based artist who takes this investigation to even more self-reflexive heights. Matson's work may not look high tech, but it responds directly to media culture and is often made using a Jacquard Loom, a mechanical device that is important in the proto-history of computing. Many of the artist's projects involve building feedback loops between the sonic experiences of making and viewing her work. Recordings of the weaving process are algorithmically translated into binary yes/no, on/off, or true/false patterns and translated into images in the form of thread color choice, needle behavior, and other factors. The artist includes copper wires in these weavings to act as amplifiers or antennae for further sonic transmissions. See, for example, Movements, in which the viewer's hand is meant to rove as a sort of playhead on what is posited as a 4-channel audio installation. The same questions are raised in her work, Digital Synesthesia, which looks at similarities in the abilities (one might even say tendencies) of both the human brain and the computer to conflate sound and image. To her credit as a dedicated artist, these are issues Matson works to flesh out again and again, even exploiting the repetition of the line-by-line weaving process as an ironic take on the re-spinning of these narratives. When she explored synaesthesia in Soundw(e)ave (a piece whose title conveys her obvious love of word play), she wrote that "This transmutability [between images and sounds] of information in the digital world initially seems to be in opposition to the ways that humans experience the physical world," but is, in fact, quite natural. Speaking of the physical world, her weaving-together of cotton and rayon (or natural and artificial fibers) in Loomscapes seems perhaps her most visually compelling argument of the relationship between traditional media and digital production. Following from the long tradition of tapestries that depict battle scenes and other historical culture clashes, Matson's wall hangings pull landscape imagery from LucasArts' early-90s computer game, LOOM, to collage together images absent of figures, but instead foregrounding the game's beautiful backdrops. In a sense, the beauty and conceptual quandaries that make Matson's work so compelling are nicely summed up in her own words, written about her work, Either/Or: "[This] is a series of work that explores the grey areas that technically should not exist, but often do, in absolute systems." The piece creates what looks to the human eye like a band of grey, where thousands of black and white strings are loosely knotted together. Here, the seemingly hard differences between bodily and machine perception are made messy, but prove worth unraveling. - Marisa Olson
Christy Matson, Loomscapes, 2007
Link »
Reblog
Originally
from Network Research
published by Ceci Moss
Contact (image above) by Stéphan Barron, is a beautiful simple networked installation employing simple interaction in a sophisticated way.
"Two seemingly unconnected copper plates in two different locations. When a [sic] someone places a hand on the first plate, the second will begin to warm up."
Reblog
Originally
by jo
from Networked_Performance
at June 21, 2008 6:42 pm
published by Ceci Moss
transmediale.09 DEEP NORTH - festival for art and digital culture berlin :: 27 January - 1 February 2009 :: club transmediale.09 - STRUCTURES - festival for adventurous music and related visual arts :: 23 - 31 January 2009 :: Call for Entries - Deadline: September 5, 2008.
As leading international festivals for art and digital culture as well as adventurous music and related visual arts, respectively, transmediale and club transmediale are calling for submissions to the transmediale Award competition and the Vilem Flusser Theory Award.
.......
For the 2009 edition, the festivals have each set a specific thematic focus.
transmediale.09 - *DEEP NORTH* peers beyond the evolving alarmist scenarios of catastrophe prevalent in the often contradictory global warming debate. transmediale.09 shifts this focus to the global artistic, cultural, societal and philosophical consequences that the presumed imminent collapse of the polar ice barrier may trigger. Are we about to reach another historically succinct moment of unavoidable and cataclysmic change - a point of no return leaving in its wake uncontrollable global transformations? Does climate change elicit cultural change, a shifting of extremes or a collapse in established, systemic and network norms? *DEEP NORTH* becomes not a fixed location, but a paradigm transforming loss, scarcity, inertia and rivalry into urgent and revealing states of being and expression.
With *STRUCTURES* - Backing-Up Independent Audio-Visual Cultures, club transmediale.09 presents projects that spring from the critical, interdisciplinary and experimental practice at the intersections of sound and other art forms. In recent years, a new breed of hybrid projects and initiatives that merges experimental audio and media cultures has developed in the convergence-zone between pop culture, science, arts and media technologies.
This still remains primarily the domain of committed individuals and small, self-organised groups or networks that, often in the most precarious of circumstances, provide the supporting platform for these new artistic articulations and experiments. In its 10th year, CTM looks into the current state and potential development opportunities of these independent structures.
Together, transmediale and club transmediale invite the submission of works and projects that respond to these challenges and embody contemporary notions of art that embrace, question and enrich digital culture.
[CONTINUED]
June 25, 2008
Departing from the 'Pictures' generation's "laconic pillaging strategies," the fifteen artists in "Not Quite How I Remember It," at Toronto's The Power Plant, deploy "embodied and labor-intensive" attitudes toward history. As exhibition curator Helena Reckitt argues, in a text accompanying the exhibition, the relationship of these artists to their subject-matter is analogous to that of performer to script; mediums as diverse as sculpture, photography and installation thereby become stages and props in dramatic reprisals of the near and distant past. Among the more explicit examples of this, in the sculptural realm, is Dario Robleto's She Can't Dream for Us All (2005-6), which, as with many of the artist's other works, exists somewhere between the exhibited object (here a wooden bed covered with a partial skeleton) and the caption (informing, among other things, that the homemade paper under the skeleton was "pulp made from mothers', wives' and daughters' letters to soldiers in the field from various wars"). Beyond simply making contemporary art fit an image of the past, Robleto actually uses the materials of the past, but in so doing obliterates their value and legibility as historical relics. For his excellent installation 1984 and Beyond (2005-7), Irish artist Gerard Byrne invited a group of Dutch actors to perform the text of a 1963 discussion between leading sci-fi writers, including Isaac Asimov and Arthur C. Clark, concerning their predictions for the years spanning 1984 through 2000. Three video monitors show different segments of the reenactment, performed in English, and the mind-boggling presages of lunar colonies, physical immortality, and overpopulation are underscored by twenty black-and-white photos ringing the installation space, all depicting fragments from the scrap-heap of future-looking idealism, from rocket-shaped cars to the concrete pavilions of the 1939 World's Fair. - Tyler Coburn
Image: Dario Robleto, She Can't Dream For Us All, 2005-06
http://www.thepowerplant.org/current.html
By
Marisa Olson
on Tuesday, June 24th, 2008 at 11:30 am.
Reading Hayley Silverman's statements about her own work, it's evident that she recently attended a smartypants art school. Of her Free TV (2008) installation, in which a small mirror is angled into position on the floor and spray-painted with the eponymous phrase, she says "The mirror exemplifies the fallibility of showing the fixed image as a means of conveying self, and questions the immediate material construction of objects that frame what we perceive." Such Lacanian readings, and a consistent concern with critiquing the tropes of modernism, are peppered throughout the young artist's work which offers physical stand-ins for theories about the Symbolic and the Real. Seemingly left out of the infamous Lacanian triad, she invokes the concept of the Imaginary, but perhaps this is a triangulating force bequeathed by Silverman to her viewers. Her sculpture, The Everything is a Stonehenge-like assemblage using traditional stage prop materials (foam, wood frames, faux finishes) to offer a sort of pile-up of tombstones engraved with the names of digital file formats, operating systems, and programming languages. Theatrical appearances aside, Silverman says she intended to create something devoid of performativity, but rather--like its ancient representational forebears-- a structure that generates a monumentality seemingly predetermined by the eventual extinction of the systems it celebrates and the people who celebrate them. There is, in fact, a kind of sharply ironic morbidity in her work, which gives it a sort of human charm. In 11:11 (2008), Silverman (also a member of the net art group, Loshadka) seems to admit something that many contemporary internet artists working with readymade materials cannot. Pulling a found image (in this case, a tree whose trunk bears a knot resembling a human eye) from a phenomenologist's archive of found images, she says that the image "either amounts to a greater meaning, or stands to stimulate something meaningless," depending on the viewer's belief system. Take a gander for yourself and imagine what you will. - Marisa Olson
Image: Hayley Silverman, The Everything, 2008
Link »
Reblog
Originally
by Enrico
from VernissageTV art tv
at June 20, 2008 8:12 am
published by Ceci Moss
Currently, the galleries BodhiBerlin and Volker Diehl present the first monograph exhibition entitled "BlindStars StarsBlind" in Germany of the Mumbai-based artist Shilpa Gupta. Shilpa Gupta (born 1976) works in a variety of media, from photography to interactive installations. Shilpa Gupta's work has been widely shown in the context of major group exhibitions including the Biennales of Sydney, Shanghai, Havana, Liverpool and Lyon. In this video we attend the opening of Shilpa Gupta's exhibition at Bodhi Berlin. We meet with the curator of BlindStars StarsBlind and artistic director of BodhiBerlin, Shaheen Merali, who provides us with an introduction to the work of Shilpa Gupta and the exhibits at BodhiBerlin. We also speak with Shilpa Gupta about the exhibition and her work in general. In another video that will be online soon, we attend the opening of Shilpa Gupta's exhibition at Volker Diehl.
Reblog
Originally
by smith
from serial consign - design / research
at June 23, 2008 10:08 pm
published by Ceci Moss
I first encountered the writing of Alex Munt while doing research for a post on David Lynch last summer. While googling various ephemera related to Lynch's recent work I came across the article Inland Empire: The Cinema in Trouble?, which stopped me dead in my tracks. This text, which Munt penned for Flow TV, is indicative of his dynamic reading of cinema and related analysis of emerging methods of production and distribution. Alex is a Lecturer in the Media Department at Macquarie University (in Australia) and his focus is on digital low-budget cinema and new directions in screenwriting and feature filmmaking. Alex and I have been emailing back and forth for the last several weeks and the transcript that follows provides a fascinating window into his research.
