Alessandro Bava from CITY OF GOD
Alessandro Bava from CITY OF GOD
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.
Adriana Ramić, The Return Trip is Never the Same (After Trajets de Fourmis et Retours au Nid, M. Victor Cornetz, 1910), 2014. Ebook, 82 pages. Installation view, Smart Objects, from the exhibition "Never cargo terminal has recently discovered the trembling hand of state secrets resounding oversold bounce child."
Lizzie Homersham: The work you exhibited in the recent show at Los Angeles' Smart Objects ("Never cargo terminal has recently discovered the trembling hand of state secrets resounding oversold bounce child," Jul 12 - Aug 8, 2014) was produced by retracing a series of ant pathways onto an Android Swype keyboard, then translating these movements into every available language. What prompted you to consider the smallest of animals in relation to your personal production of language on a smartphone?
Rhizome Today is an experiment in ephemeral blogging: posts written and published each morning, and unpublished within a day. The latest post can always be found at http://www.rhizome.org/today.
After some discussion about the best way to wrap up each month's posts, we've decided to publish a list of topics and people covered on Today during the preceding month. Here is the index for Rhizome Today in August, 2014.
October 15, 2014 - October 17, 2014
A series of afternoon talks as part of the ICA's Frieze-week program at The Old Selfridge's Hotel in London. Featuring Kari Altmann, Alex Bacon, Hannah Black, Michael Connor, Constant Dullaart, Renzo Martens, Monira Al Qadiri (GCC), Takeshi Shiomitsu, Martine Syms, Christopher Kulendran Thomas, and Amalia Ulman.
With the screen arguably now the primary site of encounter for contemporary art, this talks series, taking place as part of ICA Off-Site: The Old Selfridges Hotel, examines the ways in which internet circulation has affected art practice and art's function.
Do You Follow? Art in Circulation begins with the premise that images do not merely depict their surrounding reality, but actively produce and shape it in economic, social, and physical ways. With the advent of the internet, the image's power to effect such transformation has greatly expanded. As a result, image production is by default a posthuman process, subject to the demands of global flows. Images circulating on a network may produce far-flung realities, in unpredictable ways. Some even claim that the world is becoming an image.
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition continues an exploration of computational sculpture, objects that are shaped by computational processes, beginning with this article on early examples in the field.
Pussykrew, from the series "Unidentified Fabulous Objects."
For anyone with any interest in technology over the past four or five years, the emergence of 3D printing has been unavoidable yet incredibly inspiring, a method of fabrication that has been applied to everything from movie hero costumes to prefab houses.
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.
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.
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.
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.
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.