Posts for July 2008

"Untitled (UFO)"- Peter Coffin + Cinimod Studio

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ufo

"Untitled (UFO)" is an art project conceived by established New York artist Peter Coffin and created in collaboration with London-based Cinimod Studio. Coffin had for a while been wanting to create a public UFO flight performance, but it was not until he met Cinimod that he had the confidence to proceed with making his vision a reality. After an intense period of structural and electrical design, and fabrication, the UFO made its inaugural public appearance on 4th July 2008 as a part of the Gdansk Festival of Stars.

The overall UFO structure is 7 metres in diameter and manufactured of aluminum for lightness. 3000 bright and individually controllable Color Kinetics LED nodes have been arrayed across the structure and are controlled via a solid state computer. An on board 6 kw generator provides the system power, and the overall UFO can be remotely controlled via SMS messaging.

ufo

Found via Pixelsumo

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Originally posted on Interactive Architecture dot Org by Ruairi


New Developments

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The sculptures and installations of Saâdane Afif's back catalog become departure points for the French artist's ambitious new show, "Technical Specifications," at Witte de With in Rotterdam. Maintaining his characteristic skepticism to self-enfranchisement, Afif has produced an exhibition colored by evasion and delegation, including a series of untitled works, each built of the same materials as previous pieces; wall texts of lyrics written, at Afif's request, in response to his artwork; and three radios, tuned to FM 107.5 Mhz, which, for the duration of the exhibition, will broadcast the songs incorporating these lyrics and the materials lists of the source artworks, as read in the style of popular radio DJs. Unlike an earlier movement of French conceptualists like Pierre Bismuth, who approached inter-media translation through a structuralist lens, Afif and contemporary Loris Gréaud cross-pollinate studio, exhibition and performance spaces with a beguiling energy that builds itself -- more associatively than analytically -- from the lesser defined realms of creative consciousness. Indeed, the parameters Afif has here set for "Technical Specifications" make their points without stifling the artist's inventive return to familiar materials. Ghost (Round bar of wood/ White Dufa, White Alpa, White Ace, White Email, 179 x 3.5 cm) (2005), an Andre Cadere-inspired modular stick, painted in four brands of white, is revisited as double-helix sculpture Untitled (Ghost, 2005 / White paint from four different brands, wood/ 185 x 3.5 cm diameter) (2008). A ghostly, black-and-white rendering of Bauhaus-esque architecture, Le fantôme (2003), becomes a series of five paintings, split along the diagonal to collectively form a monochromatic gradient. These untitled phantoms both channel and displace their source image, in a confrontation with personal and aesthetic histories that reveals the vitality of Afif's restless practice. - Tyler Coburn


Image: Saâdane Afif ...

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Cowboyana Trailer

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This is the trailer for a new video game by artist Mark Essen. Beginning July 15th, "Cowboyana" will be available for download from Essen's site.

Originally posted on messhof games blog by Rhizome


The Spirit of Recession speech by Paul Chan

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The Spirit of Recession speech by Paul Chan

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Recorded at the New School on April 30, 2008, this passionate speech by artist Paul Chan describes the powerful events which hold sway over our time -- recession, war, and a banking scandal -- and their influence on human agency. Towards the end of the talk, Chan urgently underscores the importance of creative expression, as a means to endure and convey the negative consequences of capitalism.

Originally posted on del.icio.us/lauren_cornell by lauren_cornell


Repeating Residual Histories

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In their 2005 project With Respect to Residue, the Raqs Media Collective printed a theory of residues on disposable placemats, which were then distributed to various restaurants. Defining residue as, "that which never finds its way into the manifest narrative of how something (an object, a person, a state, or a state of being) is produced, or comes into existence," the placemats demanded that diners consider why and how "residues" were left out of history, as they themselves consumed. Raqs Media Collective's latest endeavor, co-curated as a portion of the nomadic biennial Manifesta 7, resides much in the same vein. From July 19th-November 2nd, they will be presenting an exhibition entitled "The Rest of Now" which includes many net art pioneers as well as other artists and non-explicitly artist-practitioners in addressing historic residues in the present tense. Set in an abandoned aluminum factory in Bolzano, Italy, the show works "to see what can be salvaged from the oblivion to which the residues of Modernism are normally consigned." In other words, both the site of the show and the works presented explore the ideas, qualities, and realities that have been swept under the rug in the process of European industrialization. The layers of self-reflexivity are piled high, here. The curators acknowledge that Europe is known for hosting many art spaces sited within old industrial spaces and their show works to juxtapose "remembered industrial energy and a more current melancholia of abandonment" to explore what the cultural embrace (or even coddling) of these spaces means. Their suggestion is that it is "symptomatic of Europe's unwillingness to come to terms with aspects of its own difficult path into, and through, the 20th century." So, in a sense, this show will work to retrace these footsteps of so-called progress, with the almost ...

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sunrise(untitledscroll#2) (2007) by Chris Collins

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sunrise(untitledscroll#2) (2007) by Chris Collins

Originally posted on del.icio.us/marisaolson by marisaolson


Knitting Circles Around the War

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Cat Mazza is a practitioner of what sociologist Betsy Greer has called "craftivism." She's used knitting and other needlecraft-related processes to address pertinent political issues. Her projects are particularly adept at effecting a tactical turning of the tables on issues; for instance, using hand-made (though often computer- or software-assisted) processes to address labor conditions. Her latest project is similarly successful at fighting fire with fire (or should we say "fiber"?), parodying a US government program--even using its own explicit instructions--to critique the ideas behind it. Stitch for Senate is a contemporary take on the historic practice of charitable knitting. During WWII, women and children supported the war effort by knitting clothing and protective gear for soldiers abroad. Following the US invasion of Iraq, Americans were encouraged to make similar efforts for soldiers stationed in Iraq and Aghanistan. However, as Mazza points out in a video on her site, this war is not as popular as WWII, consequently neither is the knitting initiative. On the fourth anniversary of the invasion, in order to spur more thought and dialogue about the war, Mazza launched Stitch for Senate which encourages users to download patterns and knit helmet liners not for combat troops but for every member of the US Senate (the legislative body that votes to declare war), giving them the responsibility of distributing the fuzzy armaments. Meanwhile, the website is a space for documentation of these efforts as well as posts by users about war-related discussions and acts of charity, patriotism, and activism within radius of their own local knitting circles. A few helmet liners won't unravel the war, but as with craft groups before them, projects like these do provide a safe platform for approaching (or stabbing a needle into) bigger issues. - Marisa Olson


Link »

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Hz #12

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Hz
www.hz-journal.org

12 presents:

[ARTICLES]
Spectral Memories: the Aesthetics of the Phonographic Recording
by Dugal McKinnon
Sonic artist/Composer Dugal McKinnon examines the aesthetics of the phonographic recording: "how is the record, as a technology with a well-documented history, also a signifying medium that has generated certain meanings, and modes of aesthetic production and reception?"

Augmentology Extracts
by Mez Breeze
Futurist and cyber poet Mez Breeze explores concepts that shape and are shaped by an extensive range of online/synthetic encounters through the phenomena Reality Mixing, Game Addiction and Avatar Formation. Three extracts from augmentology.com

Sound Art and Public Auditory Awareness
by Ariel Bustamante
Ariel Bustamante explores the connection between Sound Art and public auditory sensibilities by reviewing works by Max Neuhaus, Sam Auinger and Bruce Odland, Christina Kubisch, and Scout Arford and Randy Yau.

Second Lives, Virtual Identities and Fragging
by Matthew Board
"The use of the virtual identity, whether through Second Life, the persona of the hacker or an online identity gives the digital artist the freedom to explore creative strategies that would otherwise be much more difficult to realize. " Matthew Board investigates online art practice.

YMYI - You Move You Interact
by Joao Martinho Moura and Jorge Sousa
"YMYI (You Move You Interact) is an interactive installation, where one is supposed to build up a body language dialogue with an artificial system so as to effectively achieve a synchronized performance between the real user's body and the virtual object itself."

Pixelgrain
by John Grande
Writer John Grande's essay on "Pixelgrain" project by the artists Michael Alstad and Leah Lazariuk, an online repository of documents and ideas linked to the fading symbol of the Canadian prairie grain elevator.
[NET ART]
Spamology
by Irad Lee
Self-Portrait
by Ethan Ham

All The News
by Jody Zellen ...

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Originally posted on Rhizome.org Announcements by Rhizome


Call for Participation: Mediatopia Project ISEA Singapore 2008

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Mediatopia
{mashup, remix, transmit}
MEDIATOPIA/ISEA SINGAPORE 2008

Call for Participation:

Submit any media files, playlists, links,node coordinates, live webcasts or URLs.
Please read criteria for Border Transmissions at ISEA 2008 Singapore for related context.
Your media can be uploaded or linked into the Mediatopia database and be included in the participatory sequence produced onsite at the National Gallery of Singapore and viewable / re mixable / mash-up-able on the net via live webcast.

For more information on this project, to submit images and to view the live broadcast visit the project site at: www.mediatopia.org.

Project Details:
The Mediatopia Project and related events will reflect upon the ISEA 2008 Border Transmissions Theme and will exploit the potential of networks, communication tools, alternate economies and experiential technologies as a collaborative engine to enable the emergence of a different conception of borders, and of the transmissions that problematize these demarcations.
It also seeks to expand the models of production and distribution that have arisen as social networks, hardware, generative software components, small-scale download practices and peer-to-peer protocols have changed the nature of not only how material is made but distributed. Mediatopia will act as an incubator and working model for experimentation, inquiry, and cross-cultural collaboration within the framework of these overarching themes...

[CONTINUED]

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Originally posted on Rhizome.org Announcements by Rhizome


Junk Rock

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At the exhibit "Bobo's on 27th," currently on view at Foxy Production in Chelsea, wall-text printed onto a section of the ceiling reads REINTERPRETATION PROHIBITED; easy to miss amidst the jumble of the show itself, the two words are only visible once you've entered the gallery, walked through most of it, and turned to face the doors. Despite the dire warning, the farrago of plastic and styrofoam floor trash, aggressively colorful, punk-ugly sculptures and monstrously expressionist paintings does indeed call for certain readings. At first, the debris seems real and accidental-- like you've stumbled into someone else's art-party a few hours after the beer ran out -- but on closer inspection, each piece of apparent garbage is revealed as its own carefully placed objet: crushed water bottles covered in painted foil or laser-printed labels, a handful of flyers for a (conceptually faux) Philadelphia technical college, a set of lightly abused Colonial-dress souvenir dolls, a cloud of color-coordinated plastic deli bags with their logos meticulously removed. The seeming collapse of a young collective's studio into the gallery ultimately reveals itself as careful artifice: theatrical props for the staging of an image of a 21st century bohemia-echo, a fake fiesta that actually took a lot of work and planning by more than a dozen individual artists. Desire the real thing, then? The show includes a live if buggy webcam feed from the parallel exhibit Bobo's on 9th, which runs concurrently at the art-band's home space in Philly -- but viewers are likely to spy Boboites in their native habitat doing nothing more riotous than checking email. The total effect is that not so much of a playroom but a set of a playroom: no wonder so much of the exhibit resembles a warped memory of a children ...

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