Posts for January 2008

Off The Grid


Off The Grid
03.30 - 06.01.08
Neuberger Museum of Art, Purchase, NY.

Off The Grid will feature works that subvert and circumvent conventional infrastructures and are interested in alternatives to corporate and commercial applications and proprietary refinement of communication technologies. Installations will be on view inside the Neuberger Museum of Art and across the SUNY Purchase College campus and include works by Matt Bua; Brett Bloom; Benjamin Cohen, Dylan J. Gauthier, and Stephan Stanford; ecoarttech; eteam; Max Goldfarb; Tovey Halek and Madalyn Warren; Louis Hock; Nina Katchadourian; Kristin Lucas; Joe McKay; Trevor Paglen; Seth Weiner; and Bart Woodstrup.

Co-presented by the Neuberger Museum of Art and free103point9. Curated by Jacqueline Shilkoff (Neuberger Museum) and Galen Joseph-Hunter, Tianna Kennedy, Tom Roe (free103point9).


Originally posted on free103point9 Newsroom by Rhizome

Some Sort of Uncertainty


Art Interactive + AXIOM Gallery unite to present Some Sort of Uncertainty, a collaborative venture in which spectators are encouraged to reconsider expectations of a traditional art exhibition within a seemingly empty space. Curated by Colombian artist Adriana Rios, this exhibition explores the complex relationships between the object and the viewer, the artist's intent and curatorial practice, and the notion of gallery as art space.

Featuring: Bruce Campbell, Lina Maria Giraldo, The Institute for Infinitely Small Things, Brian Knep, Nathalie Miebach, Liz Nofziger, Michael Sheridan, and Douglas Weathersby

For more information please visit our websites:


New show organized by non-profit experimental art space Art Interactive and new media art gallery AXIOM in Boston. Visit Art Interactive for more on individual artist's projects.

Originally posted on by Rhizome

Fresh Links!


YouTube - Broadcast Yourself.

Ryan Trecartin uploads all of I Be Area to youtube. Hurray! Now everyone can watch it! Via b.


Originally posted on Art Fag City by Rhizome

Make Way on the Dance Floor


San Francisco is a city with a rich legacy of blending live performance and experiments with technology. For the last eight years, the Women on the Way festival has been a part of that tradition. Organized by the aptly-named Footloose organization, whose emphasis is on emerging and established women artists, the festival celebrates dance as a form of collaborative expression within a community and has adventurously embraced new media as a component of these expressions. The WOW festival is an annual highlight of those efforts, and this year it will bring to San Francisco an ensemble of talented artists. Throughout the month of January, sound artist Sean Clute and choreographer Pauline Jennings's dance company, Double Vision, is presenting two interactive performances, "Cycle" and "Three Canons and Mise en Scenes". On January 18, Laetitia Sonami and Les Stuck will present an intermedia performance entitled The Appearance of Silence, (The Invention of Perspective). Stuck is a sound and video artist who has collaborated with a number of notable performers and Sonami is a multi-talented composer, dancer, choreographer, and installation artist. Their project refers to the ways in which perspectivalism, as an invented way of seeing, is thrown off by new technologies that arguably flatten our depth of field. The piece will use the body's relation to a series of abstract sounds to tell the story of fidelity in vision and music. At center stage will be Sonami's famous "lady glove," a midi-studded black lycra glove whose sensors respond to movement with sound, creating a dynamic push/pull relationship between the dancer and her score. Video and sound excerpts on Sonami's website chart the evolution of these experiments in her work. - Marisa Olson


Sonic Wargame, war of sounds


sonicwargame.jpgClub Transmediale (the venue that traditionally hosts musical and audio-visual performances during the Transmediale festival), this year will be transformed, for some days, in an arena where valiant performers will fight using scratches, samples and effects. The battlefield will be Sonic Wargame, a quadraphonic installation made by the Dutch musician Xavier Van Wersch which allows four single players (or two teams of two players each) to compete under the supervision of a referee and the participation of the audience. The players, positioned at the corners of this installation, will be able to use a console and a speaker and, through a switch, to vote for the other players. Each time one of the players reaches two or three votes, the system will begin playing that player’s sounds. The transition between the sounds of a player and the next one will be very fast, but some colored light bulbs will tell, by lighting up, who is voting for who and whose sounds are played at that moment. At the same time, a video signal projected on a wall will give the audience additional informations (such as each player’s score). One of the most interesting aspects of this installation is that the players are interconnected so that they receive the other players’ sounds and can interact with them. The result is a continuously regenerating quadraphonic sound mix. Sonic Wargame is a new way to make collective audio performances where the border between collaboration and competition is blurred, and the cross-voting element determines a situation of continuous passage from the absolute control of sound to anarchistic drifts where sound defies any pretension of ownership. On the background, an election system whose results are always uncertain, almost a metaphor of modern democratic systems. Do the last elections in the U.S.A ...


Look forward to a review of Transmediale on Rhizome soon.

Originally posted on Networked Music Review by jo

Brody Condon - Performance Modification (Nauman)


Saturday February 2nd
8pm - 10pm

10 performers outfitted in medival/space/fantasy armor re-create Bruce Nauman's 1973 work "Tony Sinking into the Floor, Face Up and Face Down". Performed in slow motion and combined with movements based on computer game death animations, this piece is accompanied by a high volume binaural beats reputed to induce out of body experiences.

Closely linked to his past process of modification of existing computer games, as well as performative events with medieval re-enactment and fantasy live action role playing subcultures, this piece is presented in conjunction with his exhibit at the Santa Monica Museum of Art of Judgment Modification (After Memling) a non-interactive, animated recreation of The Last Judgment by Hans Memling (1467-71) using the unreal game engine.

See more of Brody Condon’s work

Video of a previous death animation performance

Untitled War - Brody Condon performance at Machine Project in 2004


Originally posted on machine project by markallen

bitforms gallery: Bjorn Schülke, Überschall -- Friday, January 18, 6:30 - 8:30PM


529 West 20th Street, 2nd Floor, 212-366-6939


Bjorn Schülke

bitforms gallery nyc is pleased to announce a first solo exhibition in the United States with artist Björn Schülke. Opening January 18, Überschall features five new sculptures in wood and fiberglass.

Björn Schülke (b. 1967, Germany) pursues a creative style that is equally influenced by modern abstraction and instruments of scientific measurement. The slow deliberate movements in his sculptures spatially consider mass and weight of form. Also influenced by Dadaist tradition and Jean Tinguely, the theme of an absurd machine is key in Schülke's work. Punctuated by their white glossy surfaces, Schülke's sharp three-dimensional compositions evoke the volume in Alexander Calder's mobiles and the sonic circuitry of Peter Vogel.

Meditative and shapely, Schülke's wiry linear forms give way to bulbous satellite bodies and ambient tonal reverberations. Suspended from the gallery ceiling, Schülke's Luftguitarre series sculptures are human in scale and resemble musical stringed instruments such as the banjo, violin and contrabass. Floating mid-air, the effortless rotation of these sculptures conjures a familiar echo of explosive chords ringing in a live concert. The simple auditory experience delivered by these objects contrasts with their visual complexity. Activated by the approach of visitors, a minimal pluck of a singular steel cord results from Schülke's elaborate and delicate construction of solar panels, wood, a motion sensor and propeller.



New show up for sculptor Björn Schülke at New York new media gallery bitforms. Schülke's sculptures are marvelously complex, interactive and robotic.

Originally posted on ArtCal Openings by Rhizome

Ways of Seeing


Similar to photography, the 19th century invention of photogammetry was used to discern empirical truths (measurements, altitudes, etc) about objects. Given his interest in the elusive relationship between observation and knowledge, it is no surprise that prolific German artist Harun Farocki would take photogammetry as an entry point for one of his most well-known films Images of the World and The Inscription of War (1989), which explores the military's use of imaging technologies during World War II. One particularly compelling narrative in the film points to how Allied analysts, while studying aerial photographs of Nazi Germany for munitions and factories locations, failed to locate the concentration camp in Auschwitz. Farocki's most recent work, the 12-channel video installation Deep Play (2007) calls upon a range of media forms to dismantle the elaborate spectacle of televised sport- specifically the 2006 World Cup Finals between France and Italy. The piece plays with our anticipation of the "big event" of the game which was, of course, not matchpoint but rather Zinedine Zidane's infamous head butt of Guiseppe Materazzi. The installation juxtaposes numerous views of this memorable game including live feed footage of the game, 3D models of the players, statistical analysis of players' speed and positions, surveillance feeds from inside and outside Berlin's Olympic Stadium and images of the editors and analysts responsible for collating the multiple streams into a single broadcast. Deep Play asks how these multiple points of view offer a nuanced entry into the event and how our expectations can blind us to all other elements of the game. Like Farocki's other works, Deep Play elegantly leads us to a deeper understanding of the mechanisms and assumptions that underlie the way we see and how this leads to our understanding of the world. The show is ...


Rhizome's 2009 Commissions Cycle Now Open!


Rhizome, as a leading organization in the field of contemporary art and technology, will continue to forge new ground with our 2009 Commissions cycle. This year, Rhizome will expand our scope beyond a strict focus on Internet-based art to encompass the broad range of practices that fall under new media art. This includes projects that creatively engage new and networked technologies, as well as works that reflect on the impact of these tools and media in a variety of forms. With this expanded format, commissioned works can take the final form of online works, performance, video, installation or sound art. Projects can be made for the context of the gallery, the public, the web or networked devices. Seven new art works will be selected, and awards range from $3000-$5000. The deadline for proposals is midnight on Monday, March 31, 2008. Rhizome members are eligible to survey the entries and participate in our community vote, which will determine two of the seven commissions. The first phase of voting begins on April 1.

Image: Aaron Meyers and Corey Jackson, Torrent Raiders, 2007 (Rhizome 2007 Commission)


Women in Uniform


Deborah Oropallo is among a generation of artists trained in painting and printmaking who are now migrating their practice to digital media. The San Francisco-based artist does, however, continue to draw on the aesthetics and visual language of painting and the tactile metaphor of layering in her work, which often involves the use of found digital material. Of this process, she has said, "I use the computer as the tool, but painting is the language of deliberation that is running through my head..." In her newest series, Guise, the artist plucked images from websites featuring photos of women in fetish clothing. Honing-in on period costumes, Oropallo noticed that the photos tended to follow the conventions of traditional portraiture, while putting the female subjects in the stance of powerful men. Guise features over thirty prints in which these images are overlapped--a unique rhetorical maneuver. On the one hand, the layering underscores the overwhelming similarity among poses, while on the other hand it emphasizes difference. By accumulating these images, Oropallo actually deconstructs the variables of each guise. The cacophony of overlapping elements suddenly makes each image out of place, enabling the artist to contribute to the longstanding tradition of photographic portraits establishing a relationship between costume and identity, while bringing desire and power to the discussion. The series is on view at San Francisco's Gallery 16 through February 15. - Marisa Olson

Image: Deborah Oropallo, George, 2007