Posts for July 2009

Brody Condon's "Without Sun" at Machine Project

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Image: Brody Condon, Without Sun, 2008 (Still)

Artist Brody Condon will be exhibiting and presenting a performance of his recent work Without Sun (2008) on July 18, 2009 at Machine Project in Los Angeles. Without Sun (2008) is 15-minute single channel videotape comprised of a series of performances found on the Internet. The tape displays several young people on psychedelic drugs, recounting and documenting, to the best of their ability, their experience for the camera.

The title, Without Sun is inspired by Chris Marker’s classic experimental documentary, Sans Soleil (1983), a film which examines the fallibility of human memory. For Condon, Marker’s piece invokes questions of “faulty and mediated” memory, as well as the theme of travel as a “travelogue [and] destabilization.” From here, Condon explains, the “relevance to kids taking inner journeys and recording themselves then posting the vid[eo] online to preserve the moment seemed clear.”

A transcript of Without Sun can be found on Condon’s website. It reads like a list of utterances without meaning. For instance, phrases such as, “it’s trying to spiral me all in it with it man. Oh. Uh uh. Ahhhh. What the fuck?” Or, “But there is something. Weird. This is weird. You can’t even begin. Everything feels nuts. Like touching stuff….” In another sequence, a young boy in his room explains to the camera, “I don’t even. I’m not controlling my hands. (laugh) this is going to be the best video ever I can already tell. Because. I mean. Ayyy. I forgot there was even …” The incomprehensibility of the phrases are just what you might expect from someone on such a psychedelic journey.

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Image: Brody Condon, Without Sun, 2008 (Still)

However, reading them as a transcription shifts the focus--when one reads one expects trajectory ...

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g (2008) - Jack Strange

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A lead ball rests on the "g" key of a laptop, producing the letter "g" within the body of a Word document. Eventually, the document becomes so large that it crashes the computer.

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All titles (2008) - Jan Vormann

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A modified black and white hairdryer of the same brand are installed on a grey platform. Directed towards each other they get into a direct relation, blowing with hot air at the opponent. The circuits and the plastic cover heat up until a decision is made: Either, one breaks earlier than the other, leaving a „winner“, both break at the same time or, being equally weak, none breaks, leaving the situation in a vital draw.

-- FROM THE ARTIST'S STATEMENT

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Reminder

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Image: Rashaad Newsome, Shade Compositions, 2009

Friday, July 17, 7pm
at the New Museum, New York, NY
$6 Members, $8 General Public
BUY TICKETS

Join us this Friday at 7pm in the New Museum theater for "New Music Greats: An Evening with Rashaad Newsome."

New York artist Rashaad Newsome creates powerful, original collage and performance through composite parts. His practice is based in sampling and interested in the ways picking apart and recombining culturally specific material, like a hip-hop track, can, in the artist’s words, “elicit emotional and visceral responses that can be universally recognized and felt.” For this event, Newsome will discuss his new work, The Conductor, an ambitious six-part video installation that breaks down and re-composes the visual and aural language of hip-hop music videos and top hits. The artist will also discuss his ambitious, recent project Shade Compositions, a live performance featuring a chorus of more than twenty black women that was simultaneously recorded and remixed in real time using a hacked Nintendo® Wii™ game controller.

This event is part of Rhizome's ongoing New Silent Series at the New Museum.

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Call for Participants

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The international live media festival Netmage, hosted in Bologna, Italy each year, is seeking participants for their live media floor. Netmage seeks projects that employ electronic, electroacoustic, analogue and cinematic means to produce visuals and sound. These projects will be performed in a single event space, on single or multiple screens, for a duration of about 20 minutes each. To read the call or to apply, visit the Netmage 10 site.

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reenactment (2009) - Harm van den Dorpel

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Seedbed (2009) - Pall Thayer

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More and more artists are producing art work through code and although very few of them see any reason to make the code central to an appreciation of the work, the very fact that code is being employed to produce art makes it relevant. There is meaning to be found within the codes regardless of what the artists themselves might say and the only way to emphasize this is to make the code central to an appreciation of the work. To put viewers in a position where they have to acknowledge the code and interact with the work at the code level before they are able to appreciate it at any other level.

-- FROM AN INTERVIEW WITH THE ARTIST ON CONT3XT.NET

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Looking Back

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Image: Lisa Oppenheim, The Sun is Always Setting Somewhere Else, 2006 (Still, 35mm slide projection)

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Image: Lisa Oppenheim, Yule Log, 2008 (Still, 16mm film)

Lisa Oppenheim is interested in how the present viewer sees media of the past, and to study this she takes materials from archives and transforms them with editing effects that distill her interpretation of how an image’s meaning changes over time. For a show at tank.tv, on view through July 21, Oppenheim has revealed her sources and processes in texts accompanying five of her moving-image works. E-M-P-I-R-E reconstructs Andy Warhol’s eight-hour film of the same title using a single 100-foot roll of 16mm color film. “Unlike Warhol’s endurance test of extended filmic boredom, this version uses the language of structuralist ‘flicker’ films of the late 60’s and 70’s,” Brian O’Connell writes in an essay excerpted on tank.tv. He goes on to inform us that the rhythm of the flickering Empire State Buildings spells out “E-M-P-I-R-E” in Morse code—a system as obsolete as 16mm film. Explanations like these never hurt, but Oppenheim’s work is stronger when the transformation of an image over time is a compelling sight in itself. The two channels in Story, Study, Print (2005) juxtapose children’s posters used in predominantly African-American schools in the 1970s with a disconnected sequence of still and moving images; here, chance and obscurity force viewers to form their own associative links rather than relying on a statement to decode meaning. In Yule Log, 2008, a soothing image of a fireplace at Christmastime deteriorates through several repetitions, each one a 16mm copy of the last, while The Sun Is Always Setting Somewhere Else (2006) is a slide show where each frame shows a hand holding snapshots of a sunset ...

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Debris (2008) - More Soon

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Ducktails - Parasailing (2009) - Richard Law

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