From the artist's statement: Nile Studies is an artistic research and investigation project, an experimental photographic and cultural mapping survey by digitally (slit)scanning Nile's long coastlines and landscapes along with its long and complicated history and politics.
Claude Closky is a French artist living in Paris. He works in a variety of media, including painting, installation, video, and net art, in a signature style that revolves around the concept of conveying information and the connection between ideas and objects. The artist maintains three personal websites and a YouTube channel, each of which is copious in its offerings and yet mysteriously evasive in synthesizing his practice. What one can tell--almost instantly upon looking at his work--is that Closky has a serious sense of humor. He is best-known for his paintings of pie charts and other graphs but has impressed audiences beyond the art world with public installations like his 100% which tallied percentage points, one at a time, in a series of silkscreened flags, or his collaboration with Adidas and Colette, which looked like he'd taken a Sharpie to a blank white slate to convey the brand by making the simplest marks possible. The latter was a poetic gesture of giving back to the visual language of advertising whose vocabulary his work often critiques. He's by no means the first to do so, but whereas many such bodies of work revolve around autobiography or accounts of commodity fetishism, what is unique to Closky's commentary on this lexicon is his sharp analysis of language itself. Whether through an inversion of the relationship between word and image or the hyper-literal illustration of one-liners, this is Closky's most discernible signature and it is best played-out in his use of the list as a medium. By alphabetizing, counting-down, running odds, and exploring exhaustive variations on various categories of categories, he produces the wittiest possible metacommentary on the bond between form and content. And he is certainly not afraid to give viewers myriad examples of the beauty of saying nothing at all. In this interview, Closky discusses his internet art work and his love of both language and numbers games. - Marisa Olson
Tonight at 7 p.m. the Dehli-based Raqs Media Collective will begin a three-day run of programs at the New Museum, as part of the Night School series of public seminars. Raqs has been embraced by the art world, although, as the ambiguity of the group's name suggests, the scope of its projects extend to a larger audience. Monica Narula, Jeebesh Bagchi, and Shuddhabrata Sengupta joined forces in 1992, after they completed their studies in Mass Communications in Delhi, and, at the time, had planned a collective career in independent cinema. But their work in documentary filmmaking and public broadcasting, coupled with their fascination with the nascent internet, drew them to issues related to the production and dissemination of information. Today, they continue to address those "rarely asked questions," to use the phrase the group has half-jokingly suggested its name is an abbreviation for.
Raqs's projects tend to take the form of open-ended, open-sourced networks. OPUS, or Open Platform for Unlimited Signification, is an online database of artist-submitted artworks. Conceived in the spirit of open-source software development, Raqs's online digital commons encourage sharing, collaborating, and appropriation. The collective's commitment to free culture continues in The Sarai Programme at Delhi's Centre for the Study of Developing Societies. The Sarai network of artists and scholars produce vast amounts of research and other forms of cultural knowledge, all of which is placed in the public domain.
The collective has also expressed its sensibility through a resistance to restrictions and hierarchies in their installations, performances, and theoretical writings. A recent essay in the inaugural issue of e-flux's Journal takes several fresh and surprising approaches to make ...
Art and technology festival FILE, based in Sao Paulo, Brazil, is seeking projects for this year's fest, which will occur from July 27 to August 31, 2009. Categories include media art, installation, game art, sound art, and a symposium. For the application and more information, visit FILE 2009.
createdigitalmusic.com will pair up with Etsy.com, Make Magazine, and XLR8R.com tonight for "Handmade Music" at 3rd Ward in Brooklyn. This free event will showcase, Science Fair-style, an array of eclectic homemade instruments and the tinkerers behind them. For a lengthy preview with images and videos, check the CDM site.
Italian new media magazine, Neural, has just celebrated their fifteenth anniversary. The publication was among the earliest tech-savvy page-turners and still has an appreciation for the importance of paper. In fact, to mark this special birthday, they've collaborated with S.W.A.M.P. (Doug Easterly and Matt Kenyon) for "a collective micro printing action." Subscribers will receive a limited edition piece of paper and envelope designed to commemorate the death toll in Iraq. They are then encouraged to send a letter or illustration to the White House, who are obliged by law to archive their mail, so that the stationary can act as "a Trojan horse slipping the unwanted and unacknowledged civilian body count data into official governmental archives." This is one of many exercises by S.W.A.M.P. in performatively exploring the machinery of control in post-industrial society. But (paper-cut possibilities aside) this project seems slightly less painful than their Improvised Empathetic Device (2005), which drove a blood-drawing needle into the flesh of wearers of their custom armband each time new wireless data was received regarding a rise in the war's death toll. While Neural's editorial direction is marked by broad coverage of the very diverse field of new media practice, hacktivism and tactical media are among their strong suits, so their collaboration with S.W.A.M.P. makes perfect sense. Another of their boldest strengths is their coverage of sound art and experiments in electronic music. Each issue is chockablock with CD reviews and engaging interviews, like the current issue's chat with Negativland. Neural may have an old school appreciation for the ancient medium of paper, but all this good pulp can also be found online, along with their archives and fresh feeds. - Marisa Olson
Image: Neural, Issue 31
In lieu of a "Best of" we've decided to pull together projects, events and developments within the field of art and technology that we felt were noteworthy. Like all year-end reviews, it would be impossible for this list to be entirely exhaustive, however we do hope that it is, at the very least, indicative of some of the most compelling directions and ideas in circulation over the past 12 months. Rhizome staff John Michael Boling and Ceci Moss assembled this list, with input from Caitlin Jones.
I (Ceci) viewed this screening at Deitch, but the same program was also organized at the Mattress Factory as part of the exhibition PREDRIVE: After Technology. While curated by Murata independently of the PREDRIVE show, the program serendipitously hits on some of the same themes. It featured new work by Yoshi Sodeoka, Ben Jones, Devin Flynn, Eric Wareheim and Tim Heidecker, Eric Fensler, Ara Peterson and Dave Fischer, Melissa Brown and Siebren Versteeg, Billy Grant and Takeshi Murata. The videos were followed by live performances by Nate Boyce and Robert Beatty. Murata also screened a number of films on 16mm by experimental animator Adam Beckett, whose work has had little public exposure.
See "From Bell Labs to Best Buy: Takeshi Murata and Jacob Ciocci in Conversation with PREDRIVE: After Technology Curator Melissa Ragona" on Rhizome
Morales brings together a diverse selection of bootleg art videos, vintage commercials, and other video oddities all culled from his extensive VHS and Laserdisc collection. After watching his uploaded videos, be sure to check out his YouTube favorites on each account.
In a recent essay for ...
"Shifting Polarities: Exemplary Works of Canadian Electronic Media Art Produced Between 1970 and 1991" by Caroline Langill
In this research project funded by Montreal's Daniel Langlois Foundation for Art, Science, and Technology, artist, researcher and academic Caroline Langill selected pioneering examples of electronic and new media art produced by Canadian artists from 1970 to 1991. The introductory statement expresses a need to write this report in order to construct an understanding of the greater trajectory of Canadian new media art, whose history has remained under-documented. Langill chose artworks according to their exhibition history, larger recognition in terms of precedence for later artworks and innovation in audience interaction, and their technological contribution. I know little about this subject myself, and I found Langill's series of artist interviews, accompanying essay, and image library quite instructive. I was also impressed by the fact that at least half of the artists discussed here are women, which arguably was not the case in other contexts. See below for a few works from the project, click the link to access Shifting Polarities.