Fiat Lux: Jenny Holzer, James Turrell, Richard Long et al. / Ruzicska Salzburg
Installation footage of Fiat Lux at gallery Ruzicska in Salzburg, Austria. Exhibition features light works by Jenny Holzer, Brigitte Kowanz, François Morellet, Maurizio Nannucci, Keith Sonnier, James Turrell, and Richard Long.
Ecstatic Sunshine // Herrons by Mark Brown
New music video for Ecstatic Sunshine, directed by video artist Mark Brown. Tip: play loud!!
Videos by artist Brian Bress on i heart photograph.
Lara Favaretto at the Sydney Biennale
From Autonomous Mutations:
"Lara Favaretto uses sculpture, photography, film and installation to create artworks that produce a sense of magical fantasy and urgency, forming an immediate bond with the viewer through a sense of play. Favaretto calls her works 'macchine del divertimento' (fun machines). They are mechanisms whose purpose is to be radically non-productive and non-functional."
Chris Coy's animated gif "EXCALIBER" from the exhibition "Graphics Interchange Format" at Bond Street Gallery. Marisa Olson recently covered the show for Rhizome.
We're pleased to announce that we have put in place a new, expanded technology department at Rhizome. Our previous Director of Technology, Patrick May, resigned in May after turning the Rhizome website into a more sustainable and stronger platform for future development. In July, we hired Nick Hasty to replace him. Formerly Technology Assistant at Rhizome and a recent graduate of New York University's Interactive Technology Program, Hasty proved his excellent programming skills through various projects at Rhizome, including the creation of widgets, and, outside of this position, through his artwork which blends analog circuitry with digital technology and sound.
In August, Jordan Greene was hired as Technology Consultant; he will work part-time to assist in the completion of technology projects. Greene graduated from Duke University in 2006 and has since worked as a programmer and consultant at Stanford Hospitals and Clinic and Datran Media.
Over the next year, this new expanded technology department will work to upgrade existing resources, such as the ArtBase, and implement new projects that expand and confirm Rhizome's mission and support our membership.
Over the weekend, Mobile Art Production's group exhibition, "Defence," occupied Stockholm's Skeppsholmen and Kastellholmen. These islands formerly served as fortifications for the city but now primarily function as picnic grounds, a change that has led curator Magdalena Malm to consider both historical and contemporary defense systems, as well as the potential danger of forgetting or repressing a place's past entanglements with violence and military force. Such open reflection is further important, Malm claims, to curtail the type of profiling that has become one outgrowth of the shift, in our terroristic age, from external to personal, psychological defense: "If we previously held the belief that the armed forces would protect us, the responsibility has now been firmly placed on each and every one of us to be aware of empty bags and people behaving suspiciously." A stellar collection of artworks explored these variegated topics, including the video Testimony, Kutlug Ataman's study of Turkey's amnesia about its oppression of Armenians during World War I, manifest by his father's old wet-nurse's delusional, autobiographical recollection of that era. A composite of white sugar cubes turns black and melts beneath a stream of motor oil, in Kader Attia's video Oil and Sugar #2, a powerful, symbolic pairing of two materials that have each dictated East-West commerce. Henrik Andersson specifically addressed the exhibition's site with real-time recordings of the underwater area surrounding the islands, a reference to the alleged intrusion of Russian submarines, in the 1980s, into the Swedish territorial waters around the Stockholm archipelago. While political relations have shifted since this historical incident, Andersson's work acknowledges how the mere possibility of an external threat transforms listening into a process of detection, and every foreign, underwater sound into something suspicious. - Tyler CoburnImage: Kader Attia, Oil ...
GRL's James Powderly detained in Beijing for planning pro-Tibet "L.A.S.E.R. Stencil" art protest
From Boing Boing:
"Internationally known artist, technologist and co-founder of the Graffiti Research Lab, James Powderly, was detained in Beijing early this morning while preparing to debut a new work and technology of protest, the L.A.S.E.R. Stencil. According to a "twitter" message received today by Students for a Free Tibet at approximately 5 pm Beijing Standard Time, Powderly had been detained by Chinese authorities at 3 am. His current whereabouts remain unknown...The work, "The Green Chinese Lantern," uses a 400 milliwatt handheld green laser with micro-stencils to beam simple messages and images up to three stories high on surfaces such as billboards, buildings, and bridges. The Laser Stencil technology was developed in conjunction with Students for a Free Tibet."
IMG MGMT: The Closing Listicle
Roundup of Art Fag City's IMG MGMT series. With entries by the Bruce High Quality Foundation, Kari Altmann, Kevin Bewersdorf, Brian Belott, and many others...
Thomas Demand at PhotoEspaña
Interview with Thomas Demand from NewArtTV:
"My work is never about what really happened, because I don't know what happened. It's more...how we talk about it, how it comes to us, what we do with these images, what sense we can make with it, who says what at what point and how it enters our subconscious library of images."
Projects by artist Paulo Nenflidio from wrongdistance.com.
Exclusive interview with Bruce Sterling
From Copyleft, interview with sci-fi writer Bruce Sterling.
There never seems to be an ideal time to write about Longplayer. The thousand-year long musical composition, conceived by Jem Finer, has been playing for the past eight years and two-hundred and thirty-one days in the lighthouse at Trinity Buoy Wharf, London (as well as via Internet stream and at various listening posts throughout the world) and at the conclusion of its first iteration, on December 31st 2999, is scheduled to begin again. While the project continues Finer's concern with "representing and understanding the fluidity and expansiveness of time," it also, on another level, serves as a vehicle to speculate about the trajectories of society and technology in the coming millennium, given that the continuing performance of Longplayer is entirely reliant upon these forces. A computer currently performs the composition, which comprises five transpositions of a piece of source music, played simultaneously and then at various advancements on Tibetan singing bowls, but Finer and The Longplayer Trust (established to oversee the upkeep of the composition) worry about its ongoing reliability, given "how few technologies have remained viable over the last millennium." Possible future alternatives range from a dedicated global radio frequency to "non-electrical, mechanical and organic implementations" of the composition and, most far-fetched, a small, computational device like ones "used in deep space missions," designed to play Longplayer and disseminated in the thousands, thereby preserving the piece by "adopting the biological strategy of survival by excessive multiplication and reproduction." Thankfully, humans have not been entirely ruled out of the equation, and in September 2009, a handful will perform a 1,000-minute section of the composition on six concentric circles of singing bowls. What form Longplayer will take in the centuries thereafter remains to be seen. - Tyler Coburn
Jonathan Soderstrom's Ad Nauseam 2 is a space shooter game that provides an overwhelming synesthetic experience: start playing and you'll find yourself restarting over and over again as you learn to master its maneuvers and get drawn into its psychoactive swirl of color and sound. Your podlike ship shoots two kinds of energy blasts and can also emit a kind of gravity pulse that beautifully blows away debris around it; your enemies begin as a pair of crudely-drawn semi-happy-face blobs that grow into menacing starfishes, turn into ASCII robo-ships, then ramp up to a final boss battle. Ad Nauseam 2 is one of several indie games available on Soderstrom's Cactus Software site, including Burn the Trash and Shotgun Ninja, that work with ancient arcade and first-gen console forms like the shooter and platformer, ramping up their audio-visual intensity, twitchiness and formal ingenuity for a hungrier generation of gamers. But other Cactus games are more contemplative, playing with narrative structures and standard expectations: for that kind of head trip, try out the Lewis-Carroll-esque Psychosomnium, which presents a world in a dream, or the starkly existential explorations of Mondo Medicals. - Ed HalterImage: Jonathan Soderstrom, Ad Nauseam 2 (Still)