Rhizome Today: Incomplete Histories

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iGalerie, curated by Claude Closky, Simon Lamunière, Jean-Charles Massera and Benjamin Weil. Designed by Claude Closky. 

This is Rhizome Today for Monday, September 22, 2014
 
Rhizome Today is an experiment in ephemeral blogging: a series of posts that are written hastily in response to current events, and taken offline within a day or so. The latest post can always be found at http://www.rhizome.org/today.

 

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Contagion! James Hoff's infected media

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Music video by Nic Hamilton for James Hoff, Blaster (PAN, 2014).

In 2003, the Blaster Worm was a formidable security breach. A blended threat, rolling bad code into elements of various viruses and worms, it moved swift and ruthless across four hundred thousand Microsoft computers within two weeks.

For his record Blaster, released last month on the Berlin-based label PAN, artist James Hoff used the Blaster computer virus to warp beats from the 808 drum machine into a fungal aural mass. 

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Announcing the 10 Artists Shortlisted for the Prix Net Art

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Rhizome and Beijing-based TASML and CAT/CCIA are proud to announce the artists in competition for the inaugural Prix Net Art. This is a "no-strings attached" $10,000 prize recognizing the past work and future promise of one artist making outstanding work on the internet. A second $5,000 distinction will also be awarded.

The jury—comprising Michael Connor, Rhizome curator; Samantha Culp, curator; Zhang Ga, curator and Director of TASML and Director of CAT / CCIA; and Sabine Himmelsbach, artistic director of HeK (House of Electronic Arts Basel)—considered over 160 nominations for this prize. Internal nominators—Lindsay Howard, Omar Kholeif, Christiane Paul, and Domenico Quaranta—helped to develop a competitive list of candidates. 

See the full shortlist below.

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As Queer Listening: An Interview with Sergei Tcherepnin

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Sergei Tcherepnin, Ear Tone Box (Pied Piper Disappears), 2013. Microsuede, wood, zinc, silk, transducers, amplifier, iPod. Image courtesy Murray Guy. From a poster by Center for Experimental Lectures. 

In January 2014, the artist Sergei Tcherepnin participated in a lecture series organized by the Center for Experimental Lectures at Recess. The evening was dedicated to investigating sound as an artistic material, both material and psychological, and also featured philosopher Christoph Cox. While Cox discussed the idea of sound as a pre-linguistic material, Tcherepnin took the opportunity to discuss an aspect of sound practice that remains largely unheard: queer sound and queer listening.

In this dual performance-lecture, "In Search of Queer Sound," Tcherepnin proposed that sound, and the process of listening, exists beyond pure materiality: listening as a social process, one that is not only natural, but also cultural. He suggested that much like linguistic comprehension, our perception of sound is socially coded.

Six months later, I spoke with Tcherepnin to clarify some of the points made during his lecture, to discuss some of his recent exhibitions, and to understand how the concept of queering sound informs his artistic practice, especially as sound continues to rise as an artistic medium and curatorial model.

***

July 31, 2014. Bed-Stuy, Brooklyn, NY—Bedford Hills Café.

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Announcing the 5 Internet Art Microgrants Awardees

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Dear Rhizome,

Firstly, thank you for the ride everyone.

Then, a thought: There's something about the whole proposal/open call culture that doesn't feel right for art. When an idea gains too much coherence—and that's what a proposal scheme guides us to create—it's hard to see how it still can be exciting as an artistic gesture.

Bonus tip for future jurors: The decision process gets way more complicated if you end up spying on contestants' social media profiles.

#Winning

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Announcing the Internet Art Microgrants Finalists, and Guest Juror Kimmo Modig

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The Internet Art Microgrants Juror

Votes are tallied, and we're pleased to announce the 20 finalists voted on by you to compete for five $500 Internet Art Microgrants. Now, our guest juror, Helsinki-based artist Kimmo Modig, will choose the awardees from your selections.

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Artist Profile: Andrea Crespo

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The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.

 

Andrea Crespo, Dialing from  the series Sis (2014).

Your work explores the ambiguities of the cyborg's promise—how it can reinforce patriarchal gender systems as well as liberating us from them. Can you talk about that specifically in relation to Eden, where "lust" appears as an apparatus, a series of luxury hi-tech prosthetics, rather than as a possible relation between bodies?

I wouldn't oppose the apparatus to a possible relation between bodies. I would say that it mediates, complicates, and likely crystallizes relations in a particular way. Pornography in general is just the technological mediation of normative desire, whether it's through dildonics or other viewing apparatuses. All these means are very much capable of re-inscribing everything in very traditional ways. But they are not irredeemable. It's not like the multiplication of desire through technological means is always conformist. It may subvert itself along the way.

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Tabularium: An exhibition with the foresight to plan its own funeral

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"Tabularium," a group exhibition curated by Alana Kushnir, runs through September 13 at Slopes in Melbourne, Australia.

"Tabularium" exhibition view. Left to right: Alana Kushnir, Tabularium Archive (2014–), Rachel de Joode, Hanging Marble (2014), Katja Novitskova, Shapeshifter X (2013) and Shapeshifter V (2013), Jon Rafman, Annals of Time Lost (2013). Photograph: Christo Crocker.

Slopes is temporary gallery, set to be demolished.

 Tabularium
 a little conceited
 becomes an introduction to post-internet, for doz dat slept

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