The TAGallery is a project developed by the Vienna-based collective CONT3XT.NET. More than a virtual gallery, TAGallery is a curatorial experiment. Earlier this year, both CONT3XT.NET and TAGallery were formed as a del.icio.us account. Del.icio.us is a social bookmarking manager that relies on a non-hierarchical keyword categorization system where users can tag each of their bookmarks with a number of freely-chosen keywords, allowing the visualization of bookmarks added by similar-minded users. So, according to the CONT3XT.NET statement, 'the main premise for using a Del.icio.us account for curating is the concept of the 'tagged exhibition,' which transfers the imagery and work methods of non-commercial exhibition spaces into a discursive electronic data space.' The TAGallery is, therefore, an online platform for the exploration of tagging as a curatorial tool, in which different types of users--artists, curators, and writers--become 'taggers.' 'dead.art(-missing!)LINKreSources,' which examined the link as a primary medium for networking, was TAGallery's first show; recently launched, '001010a.live-art(LINKreSource)' reflects the experience of the project, recognizing that 'the most basic method of generating a freely accessible, modular network of personal associations on the World Wide Web is to create a link and thereby forge a relationship between two or more contents.' Ranging from thematic groupings to discussions on curating as tagging, the initial TAGallery shows are as diverse as the taggers themselves, which demonstrates the innovative character of the new media field, always pushing the boundaries of the contemporary art world. - Miguel Amado
"A guy at work emailed me a picture of him and his wife, but over the wife's face is a picture of mine! Is that cute or creepy?" So begins the song "Cute or Creepy?" by Japanese artist Takuji Kogo. Under the auspices of Candy Factory (the name of the gallery Kogo operated from 1998 to 2000 and the body through which he still mounts online projects), Cute or Creepy is also the title of Kojo's new collaborative project for this year's Kitakyushu Biennial 07--exploring the potentially cute and creepy terrain of surveillance and appropriation. Collaboration is the core of Kojo's practice and Candy Factory's flexible iterations allow him to easily work with an international group of artists. For this project, Kojo collaborates with Jon Miller, Sean Snyder, Hiroyuki Hanada, and Young Hae Chang Heavy Industries, among others, creating a series of websites and songs reflecting *Candy Factory's aesthetic of animated photographs, overlaid text, and computer-generated audio. Fitting within this general framework, the personal style each participating artist brings to the formula resonates loudly, explicitly recognizing and celebrating influence and collaboration in the artistic process. Nothing creepy about that.
While hover cars and teleportation devices are still tragically nowhere near coming to fruition, 2008 will give the world's most populated metropolises the first haute couture Mobile Art Container designed by a Starchitect. A collaboration between Chanel artistic director Karl Lagerfeld and Pritzker Prize-winning architect Zaha Hadid, the Mobile Art Container is a traveling pavilion that will premiere in Hong Kong before traveling for two years to locales such as Los Angeles, New York, Paris, Tokyo, Moscow, and London. Lagerfeld asked 20 artists to create works for the container that take the iconic quilted Chanel handbag, created by Coco Chanel in 1955, as their inspiration. The structure, itself not unlike a Chanel handbag, displays the usual Hadidian innovation and architectural fabulation. A continuously arching design, the pavilion breaks down into seven-foot-wide pieces that transport easily. While the two larger than life personalities behind the project take a great deal of the attention, the impressive artists included are Yoko Ono, Lee Bul, Stephen Shore, Wim Delvoye, and Sophie Calle to name but a few. Comparatively, the Koolhaas-Prada communion seems rather quaint.
Intersections: Cinema, Performance, Networked Media, and Politics