This is a simple mod I did of the old Japanese famicom driving game F1 Racer. Basically I just took out the game, cars, etc, and left the road.
Many artists proffer a seemingly legitimate reason for being anxious about viewing copies: their works are supposed to be seen under very specific conditions in a gallery space. While this desire for “proper” installation complies with the art world’s mystificatory economy of exclusivity, which still uses as its ultimate model the unique cult image in its sacred precinct, it is of course understandable that artists would want their work to be seen under the right conditions. However, it is a mistake to think that these must be the only conditions under which a work can ever be seen. In an age in which everyone is used to seeing moving images in incredibly degraded forms online, viewers have a great capacity for “correcting” these conditions in their mind, for imagining the “proper” presentation. Seeing shaky illegal copy of the latest blockbuster on a laptop does not really damage the film; if anything, knowing that it must be so much better when seen under optimal conditions can only increase its aura.
The dialectic of de- and re-auratization is thus rather more complex than Benjamin allowed. As tempting as it may be to try to match the fervor with which he posited “right” and “wrong” ways of dealing with film—allowing it to unfold or curtailing its ontological promise, respectively—there is no reason to assume that the near future will bring us anything other than a hybrid culture in which cult value and exhibition value develop in an increasingly complex interplay. A culture, in other words, that resembles the present, but not without a little difference that is worth fighting for: an emancipation of the viewing copy, resulting in a different distribution circuit alongside that of limited editions. In such an ...
The following essay was first published in the catalog for the exhibition curated by Raphael Gygax "Deterioration, They Said" which is on view at the migros museum für gegenwartskunst in Zurich, Switzerland until November 8, 2009.
1. The popular dissemination of magical worlds has ultimately shifted from folk tales to children’s television. Paper Rad takes back this process from commercial channels, creating their own ever-shifting cosmos populated by robots, spaceships, monsters, talking animals, giants and wizards.
Like H. P. Lovecraft or J.R.R. Tolkein, Paper Rad created their own mythos, a set of characters that jointly share a fantasy world. Like Warner Brothers or Disney, Paper Rad circulate their creations across media—websites, comics, animated videos, sculptures, screen prints—thereby establishing themselves as the creators of both an imaginary alternative universe and an audio-visual brand.
Issue Project Room will host two video performances by San Francisco artist Nate Boyce and New York's own Ray Sweeten this Friday September 4th. Boyce will be showing all new work, some of which was developed for a recent exhibition at Partisan Gallery, a space based in Chris Fallon's apartment in San Francisco. I caught the closing party for the Partisan show last week, and took some shots of the installation, below. Boyce's work has long been informed by an interest in the manipulation of human perception through the moving image, but his new videos operate much like subliminal advertising, where letters flash in between short, jarring segments. Sweeten's work, which often integrates the use of an oscilloscope, can be equally overpowering. For Friday, bring earplugs, shades advised.
SEP.12TH 2008, CURRENT GALLERY, BALTIMORE, MARYLAND. Special Thanks : Zach Genin, Neil Sangiri, Ingrid Burrington, Ann Kelly, Jaime Friedman, Scott Ache and Neal Reinalda
Digital Arts and New Media (DANM) Technical Coordinator