Artist Bjorn Magnhildoen in Norwayweb creates a "carpet" made of numbers derived from Norwegian tax payer information. Accessing roughly 4 million databases via "web scraping", the "carpet" is immediately triggered upon each visit to the web site, forcing the visitor to become a participant in the collection and redistribution of "private" information. Magnhildoen comments, "While the police earlier put goal-oriented tasks to suspected individuals and groups, now the whole population will be surveilled."
Marc Garrett of Furtherfield wrote a fascinating review of the work last month where he discusses the piece within the context of widespread digital surveillance.
Next week marks the third annual installment in the ARTEFACT Festival for Art & New Media series, organized by the STUK Arts Centre in Leuven, Belgium. This year's theme is Capturing Time - Mapping the Moment, bringing the question of media specificity to the art and literary world's never-ending fascination with time/space relationships. This year's festival is packed with installations, performances, and special projects that "try to capture, record or reconstruct a certain moment, a space or an emotion" by "look[ing] into the relations and differences between human, machine or digital memories; between a personal and a collective memory." The list of exhibiting artists includes Jim Campbell, Harun Farocki, Spencer Finch, and Jennifer & Kevin McCoy and performers include Audiostore / Eavesdropper, Champ d'Action, Machinefabriek, Milanese, Modeselektor, and others. All of the works included comment on a personal perception of space, whether in the form of travel narratives or more conceptual investigations of "the boundary between an event and its representation." A symposium, entitled "Capture", rounds out the program as participants inquire about the unique contributions that contemporary media are able to make to these ongoing aesthetic discourses. Come for ARTEFACT (February 12-17), stay for Kulturama, the concurrent partner festival making Belgium the place to be next week. - Marisa Olson
Image: Jennifer & Kevin McCoy, Traffic #1: Our Second Date, 2004
Quasar is an immersive light and sound space made from prototype membranes and realized as an interactive light/sound object and comprised of a dense array of interlinked elements describing an intricate three-dimensional structure. The gallery is fitted with sensors that draw real-time data from the installation and the people within the exhibition, which is then synchronized with streamed real-time data of solar activity and nuclear processes provided by SLAC and NASA. This information is then fed back into the object through layers of LED strands, re-visualizing the space in order to create an interactive spatial experience.
Aaron Bocanegra, MarkDavid Hosale, Duly Lee, Slac, Kavali
Opening Reception Jan. 25th 7-9pm
Exhibition Discussion Feb. 15th 7-9pm
Southern California Institute of Architecture
960 East 3rd Street, Los Angeles, CA 90013
Originally posted on Rhizome.org Announcements by Rhizome
"I suggest that game studies should...turn not to a theory of realism in gaming as mere realistic representation, but define realist games as those games that reflect critically on the minutia of everyday life, replete as it is with struggle, personal drama, and injustice."- Alex Galloway
In his book Gaming: Essays on Algorithmic Culture, Galloway tackles the notion of "realism" in video games. By distinguishing between representational and social realism in contemporary game culture, he illuminates how militaristic, political and social norms are both reinforced and challenged. For his current project, with the programming collective Radical Software Group ("RSG"), Galloway and his collaborators (Carolyn Kane, Adam Parrish, Daniel Perlin, DJ /rupture and Matt Shadetek, and Mushon Zer-Aviv) address realism in war games by creating their own- based on "The Game of War" designed by French theorist, activist, and iconoclast Guy Debord. Debord attempted to realistically represent the basic rules and relationships of war through a simple board game known as "Kriegspiel", a variant on chess in which a third party, either human or computer, acts as a referee and mediates the movement of the opposing forces. The game's end is often indeterminate and subject to the personality of those who are playing, which, given the current war in Iraq, certainly seems realistic and gives credence to Debord's assertion that, "with [some] reservations, we may say that this game accurately portrays all the factors at work in real war." RSG translated Debord's set of rules from French into Java, and has released it as an online war game called "Kriegspiel". Debord, as a man who's probably best known for his book The Society of the Spectacle, which closely examined the use of the mass media as a political tool, the fascination and reenactment of the war ...
rightPatric Schmidt and Benedikt GroB.
Node08 (part of the Luminale light art festival), held in Frankfurt in April 2008, will be dedicated to range of digital art works built using the video synthesis toolkit VVVV. Expect to experience all kinds of digital exotica - from controlled lighting systems to data visualisations, 3d video projections to interactive synaesthetic artworks and lush VJ systems. There will be many workshops ranging from beginner entries to advanced classes on shader programming and typographic control. There will also be talks and presentations from the main development crew of the software as well as other media artists and academics giving overviews of their related work- For a full program of events click on this link.
Originally posted on dataisnature.com by Rhizome
Rhizome News: Replicant, Virgil de Voldere Gallery from Rhizome on Vimeo.
"Replicant", on view at Virgil de Voldere Gallery in New York from January 10-February 13th, brings together four artists- Ian Burns, Shane Hope, Gilles Rotzetter, and Scott Wolniak- whose work playfully imagines the course of creative expression within a post-apocalyptic future. In this video, the gallery's Director and Founder Virgil de Voldere discusses the concept behind the show and reviews the works included.
Georgia-based Jason Freeman is in the vanguard of artists creating unique fusions between musical composition, performance, and interactive media. He's developed a number of unique network-based sound projects and his iTunes Signature Maker (a 2006 Rhizome Commission) secured him a solid slice of internet fame by providing users the tools to create a sonic snapshot of their identity, according to the makeup of their MP3 collections. In two new works, Freeman continues his playful exploration of audio culture, in the context of human/computer interaction. Flock (2007) is a piece for a saxophone quartet. The musicians, a group of dancers, and even the audience are invited to mingle on a dance floor and an overhead computer system monitors people's proximity and sends real-time notation instructions to the saxophonists. The music they play is, then, determined live by the environment, and that space is enhanced by projected animations that visualize the sound. Between the camera-triggering lights on performers' heads and the jellyfish-like videos, the entire scene has a beautiful "enchantment under the sea" vibe. Flou (2007) (pronounced "flew"), a Turbulence commission, brings similar conditions into a virtual environment. In this web-based projects, visitors fly through space, as if in a video game, and their navigational interactions with the objects there add effects and loops to a constantly evolving audio mix. Users can also create their own Flou spaces, to share with other users--a sonic spin on social networking. - Marisa Olson
Image: Jason Freeman, Flou, 2007
Klaus von Nichtssagend Gallery
438 Union Avenue, 718-383-7309
Williamsburg / Greenpoint / Bushwick
On February 15th, 2008, Intelligent Design, the second solo exhibition of work by Alex Dodge will open at Klaus von Nichtssagend Gallery. The show will include new paintings, a sculptural installation, and works on paper.
Dodge's work continues to consistently combine superior technical expertise and experimentation with a deeply thoughtful description of human experience. In his floor sculpture, Study for Intelligent Design, cast silicone body parts derived from the artist's own body are presented as discarded android appendages, including a face, hands, and ear, that incorporate synthetic colorless hair and technological fragments for sub-dermal viscera. The innards revealed by the torn away silicone flesh are comprised of a range of mechanical and electronic parts that span technologies of the past 50 years; including typewriter parts, both old and current computer components, wires, and fiber optic filament. The violence of this installation is emphasized in the nonchalant way in which the body is incorporated with other strewn debris, such as shredded paper documents and computer disks, originating from a torn open garbage bag...
Far from simply being a grim depiction of the potential consequences of technological advancement, Dodge's work implies that technology is something inseparable from the human condition and essential to its existence. This is evident in his own practice, combining traditional mediums and techniques like oil painting and sculpture with computer-aided drafting and materials whose origins range from obsolete technologies to the most current.
Originally posted on ArtCal Openings by Rhizome
Since its earliest days, cinema has drawn comparison to the domain of magic and fantasies. Many of the form's early scholars agreed less on what film was (theatre? a new kind of pencil?) and more on its ability to psychologically transport viewers. A two-part show opening February 14 at the Hirshhorn Museum and Sculpture Garden, in Washington, D.C., explores the ongoing development of this scenario, especially as it relates to the move toward the realm of video and digital media. The first component of The Cinema Effect: Illusion, Reality and the Moving Image is thus entitled "Dreams," and it explores "film's ability to transport viewers out of their everyday lives into states that lie between wakefulness and sleep, sending them on journeys into the darker recesses of the imagination." Artists in the first half of this pioneering exhibition include Darren Almond, Michael Bell-Smith, Bruce Conner, Tacita Dean, Stan Douglas, Harun Farocki, Douglas Gordon, Rodney Graham, Gary Hill, Steve McQueen, Tony Oursler, Wolfgang Staehle, Siebren Versteeg, Andy Warhol, and others. Common among their works is a tracing of the moving image's collapse into pop culture--and vice-versa-- which is to be expected as this form of expression becomes the dominant context for communicative exchange. "Dreams" will be followed-up by a second component, "Realisms," which plumbs a fascinating irony--that "in an age when documenting 'real life' in moving image formats becomes ever easier," because of the increased availability of DIY media, "the line between fact and fiction is increasingly complicated." Both halves work together to present a fantastical and high-fidelity vision of the cinematic. - Marisa Olson
Image credit: Still from Kelly Richardson's "Exiles of the Shattered Star," 2006, from the Hirshhorn's collection. Image courtesy the artist.
EDIT: Review no. 7
Le Cube - Paris
With Margherita Balzerani, Xavier Boissarie, Eric Chahi, Etienne Clement, Carlo Giordano.
Tuesday 19th February - 8.30 pm
Le Cube - Art 3000
20, Cours Saint Vincent
92130 Issy-les-moulineaux (Paris)
The 7th issue of the EDIT: review is focused on game. Artists and writers will discuss Lara Croft and Second Life, new kinds of videogames, playful interactions between museum's visitors and artworks and the importance of game in contemporary art.
Etienne Clement stages toys back to life, Carlo Zanni plays with news as if on an Amiga and Xavier Boissarie introduces his "Bandoneon", immersive work exploring a virtual urban universe through a surf board. The conference will give the opportunity to discover the review, meet artists and authors and question the role of game in contemporary art and image by elaborating on the online articles.
With Margherita Balzerani, Xavier Boissarie, Eric Chahi, Etienne Clement, Carlo Giordano.
EDIT: is a bilingual (French/English) review published online 3 times per year, focused on contemporary visual culture and featuring portfolios, interviews, in-depth artwork studies. It was launched in 2005 by the Tide association.
Originally posted on Rhizome.org Recent Discuss Posts by Carlo Zanni