More like La Super-Duper-ette. Organized by ignivomous, the annual holiday art fair La Superette is here yet again, and this weekend a small army of artists will take over 159 John Street in Manhattan for two days of performances and affordable art. And by affordable, they actually mean it, as most of the potential gifts you'll find here are in the $10-100 range. (You can get a sneak peek by perusing the online catalog.) Sweet. Add entertainment by group activity leader Lucky Dragons, Northampton weirdos Fat Worm of Error, Brooklyn's favorite drum circle Aa (Big A little a), and Rhizome's very own Marisa Olson and pronto! Holiday cheer.
Join us for this month's New Silent Series event, Craft Hackers, at the New Museum tomorrow night at 7:30PM. The panel discussion will bring together artists who explore high-tech culture using crafting techniques as well as the relationship between needlework and computer programming. Panelists include Cat Mazza, who translates moving images into stills knit in yarn; Christy Matson, who uses Jacquard Looms (some of the earliest computers) to knit landscape images from computer games; Ben Fino-Radin, whose witty needlepoint sculptures translate the World Wide Web into yarn and plastic, one pixel at a time; and Cody Trepte, whose embroidery of retired computer punch cards rekindles an old-fashioned love affair with the hand of the artist. The talk will be moderated by Marisa Olson. Not to be missed!
After attending Cory Arcangel's performance Continual Partial Awareness, in which Arcangel provided a long (and hilarious) list of his unrealized ideas, the father of one Rhizome employee commented that he needed to buy the "Best-of-YouTube tape" to catch up on all the punchlines. Have a loved one curious about all the weird and funny stuff lurking online but who may be a little intimidated? Become a member at the Seedling level today and bring them up to date with the gift of a Nasty Nets' DVDROM. A compilation of internet folklore put together by the twenty-five members of surf club nastynets.com, this DVDROM includes videos, remixes, animated gifs, and tons and tons of found and appropriated material.
Image above from Petra Cortright's folder of surfing insanity available on the Nasty Nets DVDROM!!!
Writing in 1964, philosopher Herbert Marcuse in his seminal text One-Dimensional Man describes the complacency of individuals within advanced industrial societies as a result of an identification with the conditions imposed, where the seduction of consumerism yields a one-dimensional thinking.
Fast forward to 2008, and Marcuse's One-Dimensional Man is still with us. The new issue of e-flux's online publication Journal takes up this topic by asking, "When political power begins to look less like a tank and more like your best friend, where do you look to locate the sources of its authority, and how do you articulate new, flexible modes of resistance?" Perhaps the most interesting ruminations in Journal come from Eastern European case studies, such as design firm Metahaven's discussion of the implications of branding nation states which begins with a description of a consulting visit with the Estonian government and in the interview with curator and art historian Inke Arns where she goes over the practice of "subversive affirmation," a mimetic exaggeration which denounces an activity by performing it to its ultimate limit, within Eastern European conceptual art practice.
"50 Years of Recuperation: The Situationist International 1957-1972" Talk by McKenzie Wark Tonight at 16Beaver
Scholar and writer McKenzie Wark will ponder what it means to inherit legacies of the left, specifically that of Situationism, tonight at downtown space 16Beaver Group. Given the increased attention to 60s and 70s movements within the contemporary art world over these past few years, his question of "How to avoid the traps of orthodoxy (which can result into idolatry) or fetishism and the flights into irrelevance and impertinence?" is an ever important one. Link below for more information about this event.
Flipbook depicting digital ephemera from animated gifs
Cassette loops with midi versions of the originals
Artist's statement: I Heart Clipart is about the things that came about with the advent of computers and technology in relationship to visual aesthetics. In a culture that is constantly oscillating, an emerging world of digital images resulted in the response of the handmade (particularly with lettering). This project was an exploration into the balance of this particular dichotomy and how various reversals could take place between the various ideologies of digital and analog aesthetics. It is also, in a significant part, a product of nostalgia.
The result was a collection of various explorations: Posters of hand-drawn cliparts or paper-based geometric shapes made to resemble 3d renderings, flipbooks of animated gifs, Susan Kare's hourglass or progress bars, a cassette player in a paper/cardboard case and cassette loops featuring midi versions dubbed overtop the originals and more...
Interface aesthetics seem to push further into public consciousness with each passing month. Consumers are manic about multitouch and contemporary prototypes exploring gesture and performance have hinted at how we will be interacting with technology in the not-so-distant future. This considered, conversations about the desktop metaphor underlying personal computing or Aqua-style might seem archaic, irrelevant in light of emerging tangible media. This is, of course, not the case, and when excavating the idea of interface, one can dig back much further than screen-based interaction and find an extensive lineage of control panels and analog interfaces that prefigure the graphical user interface (GUI). An artist clearly invested in questioning the nature of interface and display is Kevin Hamilton, a researcher and educator based in Urbana, Illinois. Over the last several years Hamilton has been exploring the narrative potential of bare-bones interface and informational systems, quite notably through his ongoing Rhythmanalysis project.
Much like a music video for an artist, Turner Prize Winner Mark Leckey's offbeat performance/interview for the Tate advertises both the artist and his work in a concise and curious 6 minute clip. Dressed in a suit and tie, Leckey walks us through pieces such as Cinema in the Round and Made in 'Eaven while speaking into a concave mirror or while seated on a rotating platform. His intricate explanations carry on like this:
"I'm here now in my flat. Well, it's not actually my flat. It's a set of my flat. Um, but I'm recording and making a new piece of work. Or an old piece of work that I've made new. The piece is called Search Engine and it's a slide projection piece which allows me to enhance photographs, 2 dimensional photographs, so they appear 3 dimensional and allow me to look into corners and rooms within my flat that I wasn't sure existed. This is based upon a scene in Blade Runner with a machine that basically scans a 2 dimensional photograph and kind of renders so it becomes 3 dimensional. It becomes a space that Harrison Ford can then investigate..."
Matthew Higgs once described Leckey as a "part drifter, part dandy, part flaneur-artiste" for ArtForum in 2002, and his mental meanderings follow this portrayal. This wandering is also apparent in his work, such as in his epic montage of found rave footage Fiorucci Made Me Hardcore, a piece that draws on the same pleasure of diversion and voyeuristic viewing practices which drive contemporary platforms such as YouTube. In this clip for the Tate, which is distinctly self-referential and self-aware, one could suggest that in performing his eccentric dandy-ism in such a pronounced way, Leckey is dually channeling ...