Originally posted on javier's drawing and poetry corner by javier
Despite its title, P.S.1's current survey of Finnish art Arctic Hysteria leans towards the cool and calculated, with moments of dotty humor. In keeping with a culture known for both outdoor saunas and Linus Torvalds, much of the work deals with nature, technology or both; the two themes come together with another Finnish national icon in Tea Mäkipää's video My Life as a Reindeer, created from antler-mounted footage obtained in a manner reminiscent of Sam Easterson. Even more heroically silly are two pieces by electronic music and media art pioneer Erkki Kurenniemi, resurrected in conjunction with a documentary on the artist: Master Chaynjis, a meandering mechanical head billed as a "swearing robot," and DIMI-S, a.k.a. the Sexophone, an early electronic instrument that generates sounds through interpersonal body contact. Another historic visionary revived in this largely contemporary show is architect Matti Suuronen, whose UFO-style Futuro House provides the inspiration for a site-specific "Futuro Lounge," which serves as an unfortunately impractical screening pod and reading room. Elsewhere, the exhibit is video-heavy, with two notable standouts. Dancer Reijo Kela provides a very rare object -- a dance video that doesn't suck -- with 365 Days-Reijo Kela's Video Diary of 1999, in which the artist propels himself by various, often comical means from one side of the frame to another: skiing, skipping, crawling, running nude. Audio-visual band Pink Twins present four of their neo-image-processing videos in one room, creating an overwhelming environment of digital rainbow cascades, melting satellite maps, and looping explosions. Atypical of the rest of Arctic Hysteria's relatively detached sensibility, Markus Copper's Kursk feels like walking into the set of a truly scary horror film: a room stuffed with sporadically clanking, mechanized black deep-sea diving suits, it elicits claustrophobic unease and a far ...
"Quad I + II"
'Quad', the first in a series of minimalist experimental television plays made by Beckett in the 1980s for the broadcaster Süddeutscher Rundfunk, operates with a serial game involving the motional pattern of four actors, but equally accommodating four soloists, six duos, and four trios. Four actors, whose coloured hoods make them identifiable yet anonymous, accomplish a relentless closed-circuit drama. Once inside the square, they are condemned to monotonously and synchronously pace the respectively six steps of the lengthwise and diagonal lines it contains, in part accompanied by varying drumbeat rhythms. The mathematical precision and choreography is made possible by the exactness of the timing. Choreographic variation is confined to the number of performers, and the resultant changes in color constellations. The middle of the square, which is marked by a dot, must always be bypassed on the left-hand side. In the course of the production, the feet leave behind faint traces on the diagonals of the white square. 'Quad' (here you see the first version) is, for all its reducedness, the most dramatic of Beckett's last teleplays. The playwright also shot a black-and-white version with four figures dressed identically in white and acting to the beat of a metronome. -- Rudolf Frieling (from Media Art Net)
Originally posted on del.icio.us/network/cecimoss by seecoy
"When the power of love, overcomes the love of power, the world will know the peace." This prophecy by rock legend Jimi Hendrix could be the foreword to a manifesto on the use of music in the propagation of nationalism, but instead it's a point of inspiration for "The Sonic Self," an exhibition at the Chelsea Art Museum. Open through August 30, the show brings together a range of "participating artists from around the world with the main goal that their collaborative projects will bridge disparate audio-visual practices and expose their shared languages." In keeping with recent curatorial trends, "The Sonic Self" is part-exhibition and part-workshop, aiming to explore the relationship between sound and identity through installations, audio/visual performances, and participatory events in which collaborators work to innovate new devices for the creation of auditory autobiographies. While the relationship at stake seems most universally to be about "being heard," the selected artists are working with material ranging from live performances to field recordings to computer-generated sound to DJ samples. In the spirit of tracing "similarities and differences in the growing confluence of audio and visual experiences in contemporary complex and diverse global culture," the project will travel to St. Petersburg, Russia, and Chennai, India, following its New York debut. - Marisa Olson
Video: Philip Dadson and Don McGlashan in From Scratch's performance of "Drum/Sing."
5th Sound and Music Computing Conference
'Space in Sound -- Sound in Space'
July 31 - August 3, 2008
Technische Universität Berlin - Germany
Every era develops its specific, culturally defined awareness of space as well as forms of its aesthetic reification. In music, we can trace a development from an architectural place of sound to the symbolical space of formal and structural projections and finally to the imaginitive, musically immanent space of compositional fantasy. From thereon the actual space can be functionalised musically, it can, however, also be opened to and expanded by technical spaces. These, as digital simulations, enable both universal manipulation and boundless scaling. The conception of an "acoustic cyberspace" becomes constitutive for new aesthetical conceptions of form as well as for the generation and manipulation of sounds.
In 2007 the Technische Universität Berlin has installed the largest wavefield synthesis system worldwide with 832 channels and 2700 loudspeakers in a 700 seats lecture hall. During the 5th SMC 'Space in Sound -- Sound in Space' works for this system will be performed. This system will be augmented by a 20 channel Klangdome and an Acousmonium provided by GRM Paris in the same hall. The simultaneous installation allows a combination of different sound systems with their individual qualities as well as an analytical listening of the same works performed on different systems.
The scientific program of the SMC08 will have a special focus on different concepts and technologies of spatialisation, including sound art, acousmatic music, stereophonic reproduction, and wavefield synthesis. The talks will cover historical, aesthetical, technical as well as genre specific aspects of sound and space.[CONTINUED]
Originally posted on ../mediateletipos))) by pablo sanz
6 June to 10 August 2008
Ergin Çavuşoğlu's video installations reflect the complex and constantly changing migration of people between places and countries. Often filmed in ports, airports or markets, his videos treat the themes of travel and the process of transition that determines our reality. In this way they construct a lyrical narrative about the personal experiences of individuals within a broader collective history.
At the centre of the exhibition is the video installation Point of Departure, 2006 that was filmed in two airports, Stansted in southern England and Trabzon in the Turkish Black Sea region. Facing each other from the opposite ends of the European landmass, these two locations are subtly separated and recombined. Point of Departure explores the airport both as architectural structure, a machine for processing travellers and their belongings, but also as a space that lends itself to a certain poetic treatment.
Midnight Express, 2008 is a single channel video work that explores ideas on transience and mobility. The work was filmed on the Asian side of Istanbul on the main train line, which connects the Western part of the country to the East. The footage was filmed at night when the city space becomes liminal, showing the trains carving their ways in both directions at irregular intervals with only their lit windows visible. The work interprets the passage of the trains as a poetic representation exposing the boundaries of economic and personal motivations for movement.
The new two channel video installation Silent Glide, 2008 presents a 'point of departure', from a cut 'different' multitude of perspectives. The work is presented across two screens, which respectively show scenes from the downward spiral of a couple's relationship, and their surroundings. The setting is the dim industrial town of Hereke, Turkey ...
Originally posted on e-flux shows :: rss by Rhizome
A minisite, published in conjunction with the New Museum's current exhibition After Nature, launched last Thursday. Text from the sermons of American folk artist Reverend Howard Finster guide the visitor through several pages of photos and documentation from the show. The ominous tenor of Finster's words layered over several eerie images from After Nature work to convey the unease and dystopianism underlying the exhibition itself. The website was designed by Perry Garvin.
This summer's Sonsbeek International Sculpture Exhibition, held in Dutch city of Arnhem, takes on the theme of "Grandeur" for its 2008 edition, described on the festival's site as "the aspiration for human greatness" and "the urge, the dream, the conflict and the struggle that are linked to this aspiration." For American artist Brody Condon's contribution to this year's event, this conflict and struggle will be fought out in the woods, using home-made weapons and armor. Condon conceived of -- and is currently overseeing -- a site-specific live-action role-playing game entitled SonsbeekLive: The Twentyfivefold Manifestation, taking place in seven week-long games that began last month. Players gather in Arnhem's woody Sonsbeek Park to enact a retro-futuristic scenario set in a neo-medieval far future. Condon describes the visual style of the event as "think leather and plastic", and local builders have erected a temporary woodland-mod encampment tower for housing, complete with Japanese-style sleeping pods. The enacted narrative involves small bands composed of pre-determined character types -- Herald, Band Leader, Duel Master, and Ritual Master/Shaman and Archivist -- competing with one another inside the holy forest of Sonsbeek for the favors of the Immortals, godlike beings who grant humans the gifts of technology. SonsbeekLive continues Condon's longstanding interest in blurring games and life, and proposes a re-evaluation of LARPing from mere nerd kitsch to theatrical art. The games continue through September, and folks in the Netherlands can still sign up for upcoming weeks; those who can't attend can peek via player-generated media and the official Dutch weblog. - Ed Halter
Image: Players in SonsbeekLive: The Twentfivefold Manifestation, from the official weblog
Jon Rubin's work "explores the social dynamics of public spaces and the lives of ordinary individuals." Often working in collaboration with other artists, institutions, and members of the general public, his projects have included setting up a gallery that exhibits only information about the neighborhood's inhabitants, broadcasting an office's telephone conversations through a talking piano, producing a cable access variety show at a senior center, and a variety of fake businesses that traded on interaction and the art of conversation. The artist's two most recent projects offer a glimpse into the delicate balance of precision and irony that render his work so poignant. Earlier this month, at Los Angeles' Machine Project, Rubin's A Practical Demonstration was "an exercise in suspended orbits, suspended disbelief, and circular group formations." It's the latter, the part about people standing in circles, that is so interesting. As the artist played director, a group of local amateur videographers captured a 360-degree image of a stuntman jumping from the gallery's second floor window. (He was going for "a very clumsy 'Matrix' effect.") Simultaneously, a circle of international collaborators documented the activity of the sun over a 24-hour period. The result of all this participatory documentation was an edited two-channel video in which both the jumper and the sun appear to float in mid-air. On its own, such a video project visually resembles many that have come before it, but Rubin sets his apart by devoting special attention to the details of social collaboration, thus creating a more meaningful experience. The same can be said of his current project taking place on the streets of Pittsburgh, in collaboration with the legendary installation art museum, The Mattress Factory. Like many of his initiatives, Join the Human to Robot Army began with a ...