Rhizome Press

Schreddern gegen den Überwachungsstaat

Zeit | Monday, May 4th 2015

Die meisten sind an diesem Nachmittag ins New Yorker New Museum gekommen, um jene zu sehen, die selbst gar nicht da sein konnten. Den chinesischen Künstler Ai Weiwei, der sein Land nicht verlassen kann, weil die Behörden ihm den Pass abgenommen haben, und den Hacker Jacob Appelbaum, der nicht in seine Heimat zurückwill, weil er wegen seiner Arbeit für WikiLeaks mit einer Anklage rechnen muss. Die beiden sind das schillerndste Paar beim Hackathon Seven on Seven der Nonprofit-Kunst-Organisation Rhizome, bei dem immer ein Künstler und ein Hacker antreten, um in 24 Stunden gemeinsam etwas zu erschaffen.


purple DIARY ‒ RHIZOME'S SEVEN ON SEVEN LAUNCH DINNER HOSTED BY FACES BY THE SARTORIALIST at the New Museum, New York

Purple | Monday, May 4th 2015

Photos from the Seven on Seven kick-off dinner.


HONEYSUCKLE LETS YOU EXPLORE THE FEMININE SIDE OF NOSTALGIC VIDEOGAMES

Killscreen Daily | Monday, April 27th 2015

Game designer Theresa Duncan contributed three remarkably imaginative CD-ROM games during the "pink" craze of the '90s. While most other female-targeted videogames of that time were blatant Barbie dress-em-up clones, Duncan's adventure games told intimate and kooky stories about being a kid who also happened to be a girl. Teaming up with Rhizome, who's running a digital preservation project for Duncan's three CD-ROM games (Chop Suey, Smarty, and Zero Zero), Weil hopes the jam will help the female-oriented creators of today reconnect with the often overlooked feminine games of our past.


Three days in Beijing with Ai Weiwei, Jacob Appelbaum and Laura Poitras, the global dissident elite

Fusion | Monday, April 27th 2015

Appelbaum came to Beijing to meet Ai at the request of Rhizome, a non-profit affiliated with the New Museum in New York. For the last six years, Rhizome has paired seven technologists with seven artists, and given each duo 24 hours to create a joint art project. Usually, the pairs meet in New York, but that wasn’t possible with these two. Appelbaum can’t return to his home country, and Ai can’t leave his. Instead, the men meet at Ai’s house, an airy studio complex in Beijing’s art district. At the house, Ai and Appelbaum are joined by Poitras, who was invited by Rhizome to make a film about this meeting.


THE LEGACY OF THERESA DUNCAN AND THE TECHNOLOGY BEHIND ITS PRESERVATION

Killscreen Daily | Thursday, April 23rd 2015

Michael Connor, Rhizome’s Artistic Director, also expressed gratitude for the support, specifically for the 463 Kickstarter backers. In introducing the games and why it was important to conserve them, he explained, “You can develop a relationship with [the games] that evolves over time, and each time you return, you understand yourself a little differently, in relation to them, and you understand the works a little differently as your perception of them evolves.” Having never been exposed to them myself, I was surprised at first by how familiar they felt as point and click adventures, but even more so by how amazingly involved and intricate they were compared to other entries from their era.


You Can Now Play Theresa Duncan's Feminist CD-ROM Games at Rhizome

Artnet | Monday, April 20th 2015

"These three games have been a trilogy," said a former co-worker of Duncan's, who was sitting in the audience at Rhizome. "Particularly as a personal statement of who Theresa was, if you look at Chop Suey's position as the innocent child, all the way progressing up to this child at the turn of the century…[and] they were done in three year's time. It's a lot of energy. The collaboration between [Duncan and Blake] was just over the top. I can't tell you. And they thought each other's thoughts were just…magnificent."


Ann Hirsch: Playground at JOAN

Daily Serving | Sunday, April 19th 2015

Ann Hirsch’s Playground, a 65-minute play originally commissioned by Rhizome and performed at the New Museum in 2013, had its second showing at JOAN in Los Angeles on March 28, 2015. Hirsch’s performative and object-based works often explore female subjectivity and sexual power, and Playground draws directly on her experience as a preteen using AOL chat forums in the late ’90s , an online space that enabled her to explore her sexuality at an age when parental monitoring limited her agency.


RHIZOME MAKES PIONEERING 90’S THERESA DUNCAN GAMES AVAILABLE ONLINE

ARTNEWS | Friday, April 17th 2015

Spearheaded by Rhizome archivist Dragan Espenschied and the result of a successful Kickstarter campaign, the three CD-ROM games (Chop Suey, Smarty, and Zero Zero) were created for young girls during a time when that demographic was mostly ignored by the gaming industry.


The girl game archival project that’s rewriting geek history

The Verge | Friday, April 17th 2015

It was the mid-’90s, and to many people, video games were synonymous with derivatives of Doom and Quake. "Zip through the aisles at the local computer store and the mayhem mounts quickly," The New York Times wrote, assessing the computer gaming landscape. "Ravage, No Flesh Shall Be Spared, and Assassin ('Shoot first, think fast... or get smoked') are typical CD-ROM titles." But a charismatic designer named Theresa Duncan offered something different. Between 1995 and 1997, Duncan released Chop Suey, Smarty, and Zero Zero, a trio of whimsical point-and-click adventure games that provided an alternative to both gritty shooters and pink-drenched Barbie adventures.


The Doomed Visionary Who Made Feminist Games 19 Years Before Gamergate

Gawker | Wednesday, April 15th 2015

Chop Suey was acclaimed in its time: in an article praising the game's "funky folk art" aesthetic and magical realist storytelling, Entertainment Weekly awarded it "CD-ROM of the Year." But since then, like most of the countless so-called "edutainment" games released in that era, it has fallen into relative obscurity. That might not be the case for long. This week, in an effort to preserve and recognize Duncan's work, the digital arts nonprofit Rhizome will make Chop Suey and two other Duncan CD-ROM games free for anyone to play online. "These are art objects when it comes down to it. It's the sense of perspective. It's the sense of subjectivity. The sense of self—that they're actually trying to say something. That makes them different from other games," Rhizome assistant director Zach Kaplan told me.


Moving & Being Moved: Poetry As Practice Contributors Interviewed

The Quietus | Monday, April 13th 2015

To mark the completion of — and provide some insight in to the work which collectively comprised — Rhizome and the New Museum's online-only Poetry as Practice exhibition, Sophie Collins sent a single set of questions to all six contributors, relaying below each of their voices in response to the ideas of translation and performance, poetry as media and digital media, the influence of the reader or viewer and the possible collapsing of 'poetry' as a discrete category


Poet Melissa Broder releases collection inspired by Oneohtrix Point Never’s R Plus Seven

FACT | Tuesday, March 31st 2015

As part of a new online exhibition for Rhizome, poet Melissa Broder recently debuted R Minus Seven, a collection of 10 poems inspired by each of the songs on Oneohtrix Point Never‘s brilliant R Plus Seven, one of our favorite albums of this decade.


Poetry in the age of the web

Dazed Digital | Wednesday, March 25th 2015

Many a poetry lover will know, a poem isn’t only the words that compose it: the materials in which the poem is embedded, or its technologies of publication, are just as integral to the poem as the language it employs. As London-based writer Harry Burke points out, there is no natural or neutral “blank page”: every publishing decision is a choice that shapes the nature of the piece. An online exhibition curated by Harry Burke and co-presented by Rhizome and the New Museum in New York as part of their First Look series, Poetry as Practice releases a new online poem by a different poet each Monday through 6 April, totaling six poems. Using the web not as a blank page but as a digital media environment, the varied poems draw attention to the conditions of their production and circulation.


This Week in Cultural Clicks: Sushi Cats, Post-Internet Poetry, and More

New Yorker | Friday, March 13th 2015

This week, Kenneth Goldsmith made a strong case for post-Internet poetry, writing on Page-Turner that the form has come into its own. This should come as no surprise, given that the Internet is a text-based medium, driven by code. What did surprise me was that Goldsmith restricted his argument to printed matter: a three-part volume, a book-length confession, an anthology. (In the past, he has championed YouTube’s jejune bard of ranting, Steve Roggenbuck.) The most radical aspect of post-internet art isn’t that it infiltrates old-media institutions like books and galleries; it’s that, as it does so, it continues to proliferate online like Tribbles on Star Trek. As part of its current triennial, the New Museum tapped the British poet Harry Burke to organize a series of Web-only projects by six other poets: Alex Turgeon, Penny Goring, Tan Lin, Ye Mimi, Melissa Broder, and the collective not I. A new piece is released every Monday, through April 6th. No bookshelf required. (Be warned, this week’s offering, Gorin’s “Deletia—Self Portrait with No Self,” is a tad NSFW.)—Andrea K. Scott


The Year in Video Games

Artforum | Monday, December 29th 2014

Even museums continued entering the fray, whether it was MoMA’s ongoing acquisition and preservation of seminal, old-school video games, Tate’s recent Minecraft maps that allow viewers to experience virtual artworks, ZKM’s newly re-opened permanent exhibition of video games, or Rhizome and the New Museum’s announcement this November that they planned to preserve and present three 1990s CD-ROM games by Theresa Duncan.