From Dada to Anthropofferjism January 31-April 4 NYC

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The New SPACE (The New School for Pluralistic Anti-Capitalist Education) Presents:

FROM DADA TO ANTHROPOFFERJISM
Erika Biddle


e Tuesdays, 6:00 p.m. - 7:30 p.m.
6 Sessions: January 31, February 14, 28, March 14, 28 & April 4
Tuition: $75 - $100, Sliding Scale

Dada spoke of the violence of everyday life, of disrupting and destructing history; this destruction is a desire to change the world. Dada was a movement that obliterated its memory, but left traces of influence that are visible in the practices of aesthetic revolutionaries throughout the 20th century and today. In this course, we will explore both the Dadaist movement, birthed in Zurich midst the horrors of World War I, and its traces of influence in anti-capitalist artists groups and cultural projects that exist outside of "the art world" and the apparatus of the state. We will survey the work of the Lettrists and Situationists; Gustav Metzger’s theories on auto-destructive/auto-creative art; the LPA (London Psychogeographic Association); Neoism & the Neoist Alliance; Situ-inspired projects; Surrealism in Chicago; "culture jamming" projects; and the "tactical media" and "technologies of resistance" of groups like RtMark and the Critical Art Ensemble.

Erika Biddle is an artist, editor and writer living in New York City. A founding member of Artists in Dialogue, which is committed to the co-articulation of art and politics, she also works with the radical book publisher Autonomedia. Her video work has been shown in such venues as White Box, Capsule Gallery, Artists Space, Diorama Arts Center, the Cinema Nouvelle Generation Film Festival, Guestroom, and the DUMBO Short Film and Video Festival.

Please see the New SPACE website for info on registration: http://new-space.mahost.org [....]

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Originally posted on Interactivist Info Exchange by stevphen


Artgames. Part I

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On Tuesday i went to Aachen (Germany) to visit the Artgames. Structural analogies of art and game exhibition at the Ludwig Forum. I wasn't expecting to be so pleasantly surprised. Aachen is a small city and i had never heard about the art centre (which doesn't mean anything). But i was happy to finally get to see pieces i had only read about and to discover new works. Plus, i was allowed to take pictures (now on flickr). And i smiled. A lot. And right from the start, when i saw one of Sylvie Fleury's Dog Toys at the entrance of the show. The one on the picture underneath is "Crazy Bird" but check also her Spider and strange gnome.

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Behind the huge toy, was Fur's Painstation but i stayed clear of it. The moto of the game is "No Pain, No Gane" and its concept is that mistakes while playing result in real pain. I'm too faint-hearted to let my hand become one of the subjects of the Hall of Pain although the new version seems less cruel: interchangeable whips include a pink feather, there are now adjusteable painlevels and one might consider that the flash to temporarily blind the player isn't the most barbarous feature.*

Several walls were covered with "tableaux" by Norbert Bayer, alias Mister Ministeck. MM makes plastic mosaics using Ministeck, a game for children popular over the past decades. By pressing colourful pushpins onto plug-on boards to create a "pixelized" image, he translated icons from the computer world into cheerful plastic pictures.

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For example in the Touchscreens series based on screenshots from C 64 games, the pixel structure of the first home computers in plastic bricks. Nice to discover that MM's work isnt' revolving around the sole computer ...

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Originally posted on we make money not art by Rhizome


And The Winner Is....

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[....]One of the more exciting places to note is the Williamsburg performance space/restaurant/bar Monkey Town. [....]Kicking off the event last Friday, was the Rhizome curated event Craptop vrs Laptop. [....]Best fitting the profile of tech geek, the husband and wife team LoVid kicked of the evening with one of the most impressive performances of the night.



If you are looking at the picture above and saying to yourself something to the effect of "What the fuck is that?", let me clear that up for you. It is a modular handmade analog A/V synthesizer. Get it now? Yeah, well, me neither. As far as I can tell it's a bunch of mason jars stuck into a table with audio/visual cables hooked up to…something. Somehow this team has figured out how to make this thing project video and make sound, and have it look and sound great. The performance itself falls into some of the same trappings of electronic music concerts where you basically end up watching to people fiddle with some knobs all night, but there is some ievitablity to that. In the 90's the willingness to watch this kind of thing tended to be higher because of the novelty of the instrument, but by now attention spans have become a lot shorter. What seperates the stale knob twitching of LoVid's performance from others is that the object they have built has a sustainable beauty that a mass produced mixer does not.

By contrast, my favorite act of the evening began by laying out a laptop, a cell phone, a wallet, bandana, etc along the floor. I have to admit, I was worried that I would soon smell patchouli and that hippy shit was going to be all over this piece; an interesting ...

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Originally posted on Art Fag City by Rhizome


Moving labyrinth at the ARTEFACT festival

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NEVEL (picture on the left), by Lawrence Malstaf, is a moving labyrinth (11 X 11 m) consisting of 9 programmable walls able to rotate 360° and react to the presence of the visitors, determining their route. Architecture comes alive, walls become doors, spaces open and close, visitors are locked up, desoriented and set free again.

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Performers, visitors and their shadow are part of a tablaux vivant set for each other. The space itself is turned into an actor in the performance. An abstract place in to go astray like in a mutating city.

During the ARTEFACT festival that runs from February 13 till 18 in Leuven (Belgium), four artists / scientists will get to work with or within NEVEL and create new presentation forms and performances. For the festival, artists and scientists will research space, place & distance and translate it into new forms.

There's more about Malstaf and his works (which include curiosities such as Shrink, a 1995 installation inviting visitors to be vacuum-packed in plastic, with only an air bubble through which to breathe, picture on the right) in kopenhagen.dk and Frame magazine.

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Originally posted on we make money not art by Rhizome


Photographer takes photos of real scenes that look like miniature sets

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Mark Frauenfelder: Metropolis magazine has an article about a photographer named Olivo Barbieri who takes photos of real scenes and makes them looks like miniature sets. Shown here: the Santa Monica pier in Los Angeles.

Kevin Evans says: "Detailed scale models, except they're not. Strange photographs of places using a technique that makes them look like small model dioramas. Truly amazing images.

200601271529"the Las Vegas photographs in which an innate sense of unreality collides most strikingly with Barbieri's projected vision. The city's simulated monuments are made to look artificial, in total defiance of their reality. For Barbieri it is "the city as an avatar of itself."
Link

Reader comment: Noah says: "The technique Barbieri uses to get the surreal Depth of Field in his pictures is tilt-shift photography, you can get a nice detailed explanation at the above link. For homebrew photo buffs, there's a cool tutorial on how to make your own tilt-shift lens (without dropping $1000) here."

200601271934Reader comment: Alex says: "this photography blog features some very good examples of tilt-shift photography. its in japanese, so i can't give you any more details. i found the quality of the images are superior to those featured in Metropolis. beautiful stuff."
Link

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Originally posted on Boing Boing by Mark Frauenfelder


Ben Davis on Tech Art

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Cory Arcangel

Saturday, Jan. 28 is the last day of "Breaking and Entering: Art and the Videogame" at PaceWildenstein. Planning to go later today; have held off for two reasons: (1) really more interested in videogames for the music and the visual shortcuts than thinking about them as an art movement; and (2) For blue chip PaceWildenstein, final resting place for nearly-dead canonical artists, to jump on this particular bandwagon is a bit like watching your pot-bellied, combed-over high school chemistry teacher "krumping."

But I want to see the Cory Arcangel installation above: that image looks drop dead gorgeous to me, and I can't believe the artnet reviewer's mildly sniping take on this.

The normally dynamic Cory Arcangel offers a large, static projection of a video game fighter jet and clouds to complement a primitive "found video game" displayed on a small portable laptop. Titled Bomb Iraq, the game depicts a crudely drawn bomb that the user can bring nearer to an outline of Iraq by pressing the arrow keys. Its inclusion is fine as a document of America's meat-headed relation to the Middle East, but does nothing interesting with it -- except to prove that video games can be used as found objects just like everything else.
"A static projection of a video and clouds"? Hello, mural painting? James Rosenquist's F-111, maybe? And would it be worth mentioning that the laptop game, originally found on a Mac in a garage sale (see GIF below for a taste), dates to the first Gulf War? That's fifteen years of meatheadedness! Arcangel's pretty post-found object, I'd say. Is this bit of brain-damaged DIY propaganda really in the same category as the arch, Francophone disquisition of say, a Duchamp snow shovel? Perhaps, considered with the wall mural, it's ...

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Originally posted on Tom Moody by tom moody


Anne Galloway

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On Spatial Annotation

I'm really looking forward to being a guest lecturer in the Contemporary Architecture Discourse Colloquium at Yale School of Architecture on March 31st. This is what I'll be talking about:

LOCATION-AWARE TECHNOLOGIES, SPATIAL-ANNOTATION, AND THE FATE OF URBAN COMMUNITY

Location-aware technologies such as GPS and RFID are increasingly being used for a variety of European and North American urban spatial-annotation projects. These desires to “tag

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Originally posted on networked_performance by jo


Lee Walton - Experientialism

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City Golf
‘City Golf’ (2002, 8.4MB, 2:09 min)

Sitting
‘Sitting’ (2005, 22MB, 3:47 min)

Get Over It
‘Get Over It’ (2004, 65.7MB, 11:24 min)

Though the antecedents of Lee Walton’s work are clear -
Cage, Long, Nauman, Aders - he nevertheless brings
something new to what could be called the algorithmic
performance genre:
there’s the pleasure of the sportscast to be derived from his lazy
athleticism ( like parkour/free running on downers),
there’s a contemporary comedy of embarrasment edge
& also his videos are rather lovely, slow evocations of place & time…

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Originally posted on DVblog by michael