Posts for June 2009

Dispatches from No Soul For Sale


No Soul For Sale closed yesterday, ending a mad week of performances, exhibitions, lectures, and more. See below for the last of our mini-reports from the festival.

Light Industry
Light Industry put together a packed program this past week, and I would expect no less from this smart and savvy Brooklyn-based cinematheque.

Image: Daily program listing in the Light Industry space

Image: "A Combination of Works" by Oliver Laric and Wojciech Kosma


Images: People playing Mark Essen's new game "The Thrill of Combat" during opening night and a screenshot of "The Thrill of Combat"

Latitudes, a curatorial office in Barcelona run by Max Andrews and Mariana Cánepa, reconstructed the interior of a Burger King restaurant in their space. The plastic booths ended up as an impromptu rest area for visitors, who could sit and chat or read through the publications and posters documenting Latitudes previous projects.



Images: Shots of the faux Burger King built by Latitudes

K48 is a fun and chaotic local fanzine that has showcased many emerging artists and musicians over the past few years. For their project, they built the below inflatable room out of stitched together trash bags. Once inside, there was a sound installation and strobe light.


Images: Outside and Inside shot of K48's inflatable room

Participant, Inc.
Lower East Side non-profit arts space Participant, Inc. showed two films by Luther Price on television monitors in their space.

Image: Film by Luther Price

Filipa Oliveira + Miguel Amado
This Lisbon-based curatorial team put together the group exhibition, "If you don't know what the South is it's simply because you are from the North", named after the piece below by Runo Lagomarsino. The show proposed to "respond, comment, and speculate on globalization, displacement and identity on the current international art scene ...


Sixteen Candles (2007) - Aaron Miller and Nick Bruscia


Sixteen Candles is an experiment in physical computing. As a candle is burning, it is being captured and processed live by a computer. The computer copies the live image onto a 4x4 grid and projects it onto 16 mirrors. The mirrors, rapidly tilted up and down by custom solenoid apparatuses, throw the images of the candle across the room.



The Museum's Profile


Image: The Brooklyn Museum's iPhone Application

As another major American art museum joins the Twitter-verse this past month (@Guggenheim), it begs the question: how can institutions and the public they serve better benefit from participation in Web2.0? Currently, many museums utilize the major social networking sites in the same manner they use their websites—to promote current and upcoming exhibits, special events, display works, and post the rare job opportunity. And while we can all benefit from multiple reminders, it's beginning to feel as if these institutions are not truly adapting to the opportunities opened up by social networking. The goal is to use these sites as they were intended, as a tool for conversation and relationship building between individuals, and not as an avenue for a one-way transmission of information.

The fear, of course, is that once museums begin actively participating in Web2.0 environments, they will have to give up some control over both content and message. As museum professionals Nina Simon and Gail Durbin both point out, in a world where all knowledge is at one's fingertips, visitors expect to be able to respond to their experience, therefore museums should develop platforms that allow for a diversity of voices. One New York institution in particular, The Brooklyn Museum, has successfully adopted Web2.0 endeavors, with two blogs on the website documenting installation and artist processes, an iPhone application to view and search the museum's collection, and 1stfans, a $20 museum membership with exclusively social network-based content and features, such as the Twitter Art Feed (@1stfans), which allows followers to pick a different artist to create work for the feed each month. Another example of an organization which has expanded its 2.0 reach is the Victoria and Albert Museum, which uses its ...


No Static - Bottin (2009)


Music video, edited by Iris Lateral, using all appropriated footage from Lucio Fulci's Warriors of the Year 2072.


Mea Culpa (1981) - Brian Eno and David Byrne


Video assembled by Bruce Conner


Zebra Standards 29 - R. Stevie Moore (1978/2006)


Video assembled in 2006 by Nuno Monteiro using footage from George Romero's "There's Always Vanilla"