TEDxVaduz: Towards a new future through a moribund format

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Femke Herregraven speaks at TEDxVaduz, Kunstmuseum Liechtenstein, Dec 2013. Via DIS.

TEDxVaduz was held at Kunstmuseum Liechtenstein in December of 2013. Designed and organized by artists Simon Denny and Daniel Keller, the event seemed, at first glance, like a well-organized parody. But the list of speakers included an array of legitimately exciting artists and thinkers—Peter Fend, Andi Götz, Femke Herregraven, Michaela Hogenboom Kindle, Michael Littger, Michel André Maréchal, Katja Novitskova, Emily Segal, and Regula Stämpfli—convened under a relevant theme, "Radically Open."

From the outset, it was clear that TEDxVaduz aimed to work both within and against the context provided by the TED brand. Denny opened the event by giving a brief history of TED and the TEDx conferences. Keller provided the current context of TED, its format and the recent criticism due to presentations that relied on pseudo-science. Denny highlighted the elements of the TED brand that match his and Keller's interests, such as Silicon Valley and tech entrepreneurialism. Denny also noted that the backdrop, a tag cloud comprised of most used words in TED talks and the floor graphic of an island shaped like Vaduz, was a collaborative design by the two.

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Dating Advice Needed

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For the past few days, using a special algorithm we call "first come, first served," we at Rhizome HQ have been busily setting up blind dates (or trying to). This is not only because we want our community to have love and be happy; it's also a way to celebrate the launch of Lauren McCarthy's Rhizome-commissioned iOS app Crowdpilot

Crowdpilot lets you "crowdsource your social interactions" by audio-streaming them and soliciting advice from your friends, or from total strangers, online. You can download Crowdpilot for free on your iPhone, or you can listen to others' dates, and offer advice to them, by logging in to the project website.

Tonight, from 6:30pm-8:30pm EST, we'll be presenting Crowdpilot as Rhizome's third fullscreen frontpage exhibition (following Vince McKelvie and Molly Crabapple). Visitors to rhizome.org will have the opportunity to listen to, and advise on, any ongoing Crowdpilot sessions that are in progress at that time. We arranged two blind dates, but you can also join in as a dater: just run the app during that time, and it will show up on our front page.

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Community Campaign 2014 — Donate to Sustain Commissions to Artists

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Ann Hirsch, Playground (2013). Photo: Oresti Tsonopoulos

Your Gift Means Rhizome Can Commission Artists - Donate Today?

A message from Ann Hirsch, 2012-13 Commissions Awardee:

When I received a Rhizome commission, it gave me what it has given so many others: a truly unique opportunity to realize an otherwise-unlikely, ambitious artwork. Donating to Rhizome during its community campaign sustains its commitment to emerging artists, ensuring that others will find meaningful support for their work when it matters most.

New York City can be a challenging home for an artist. There's a lot of competition, exorbitant living expenses, and hardship. For me, financial pressures meant that I could only afford to do small scale projects, essentially making work at the same level at which I had been operating since receiving my MFA.

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Getty Images: Still Kinda Sexist?

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Portrait of a confident businesswoman

This week, LeanIn.org and Getty teamed up to release a new collection of 2,500 stock photos that aim to "represent women and families in more empowering ways." The need to do this was quite clear; stock photographs had become something of an internet sensation for their lingering embrace of a range of visual clichés, many of them sexist, such as the notorious "Woman Laughing Alone With Salad." As depictions of broadly-applicable situations and people that could be used in a wide variety of publications, particularly for marketing purposes, stock photographs claim to represent generic ideals for easy illustration. Their effect is, in fact, the inverse—it is specific ideologies they illustrate, in order to continue their reproduction.

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I (No Longer) Have a Web Site: Access, Authenticity, and the Restoration of GeoCities

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"I Have a Website." JPEG version of screenshot from One Terabyte of Kilobyte Age Photo Op.

One year ago, a system developed by artists Olia Lialina and Dragan Espenschied began taking screenshots of now-defunct GeoCities webpages from the late 1990s as they would appear on hardware and software from that time. Every twenty minutes, a new screenshot is automatically uploaded to their Tumblr, One Terabyte of Kilobyte Age Photo Op. Friday marked the one-year anniversary of the project; to celebrate, Espenschied restored the three most reblogged and liked home pages posted there, as tracked by Lialina. This article covers the why and how of this restoration.

It may seem strange to say this about the likes of "Cute Boy Site" or "Divorced Dads Page," but the remains of the GeoCities web hosting service are a vital part of our cultural legacy. In its dial-up heyday, GeoCities was where non-specialist internet users made their first-ever webpages. Today, it exists as a vast, if partial, repository of the anxieties, hopes, and dreams of those creators, and offers a snapshot of the early popular usage of a now-ubiquitous cultural form, the webpage.

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To Program a Prose Machine

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Nanni Balestrini, Tristano, copy #10750 (Verso, 2014).

In order to program a poetry machine, one would first have to repeat the entire Universe from the beginning—or at least a good piece of it.

— Stanislaw Lem [1]

"All directions are of equal importance." This is the second sentence in the second paragraph on page 88 of my copy of Nanni Balestrini's 1966 novel Tristano, #10750. You cannot read this novel, unless I lend it to you, as each of the 10,000 copies Verso publish this month contain different iterations of the same text.

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Welcome to Your New NSA Partner Network: Report from Transmediale 2014

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We're running our annual community campaign through March 19. Give today!

Photo: Andreas Nicolas Fischer.

A kind of cold weather antipode of summer's "Love Parade," the Transmediale 2014 media arts festival was a beacon of light in the long dusk of a Berlin winter. As a twist on the usual curated exhibition, this year's festival opted for an ad-hoc "Art Hack Day" (AHD) approach, where submitting artists were expected to create new and original artworks in the span of two days (and nights). Opening the exhibition with a more down-to-earth feel, AHD ultimately resembled a DIY, garage-style party instead of a highbrow exhibition space.

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Launching Rhizome's Community Campaign 2014: What Will Rhizome's Role Be in the Future?

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Had we taken this Chris Burden piece (Tower of Power, 1985) from the New Museum recently, we'd be set. 

We’re launching our six-week community campaign today.
Will you make a donation this year? 

As Rhizome’s Director, I'll kick off this year’s campaign by answering a question I'm sometimes asked: What will Rhizome's role be in the near future, when "art and technology" has fully embedded itself into "contemporary art and culture," in no small part due to our efforts over the past 17 years? Will there be a need for this organization's focus?

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