Cars are a defining feature of the landscape and social space of Southern California. Especially in San Diego, where freeways weave like dangerous ribbons through a terrain of strip malls and tract housing, driving is an almost inescapable part of daily life...
On August 31, 1994 from 6am to noon, a team of 50 professional and volunteer parking attendants directed the arriving cars to predetermined lots according to car color. Each of the fourteen lots was filled with cars of a different color: dark blue, blue, light metallic blue, silver & gray, black, beige, brown, metallic raspberry, yellow, electric blue, white, aqua, green and red.
A proposal to remake Ed Ruscha’s classic bookwork, replacing the corporate lots with the private lots that spring up in my neighborhood once a year, during the Canadian National Exhibition. A folk-art archive of sorts.
"Contact," the most recent exhibition by the group Art Business Consulting, featured a rocket ship built from computer hardware, with a trio of yuppies floating weightlessly on a video screen inside. The trappings and denizens of the office have figured in ABC's work since Mikhail Kosoplapov, Maxim Ilyukhin, and Natalia Struchkova formed the group in 2001, and as in "Contact," they have always been subject to some sort of disfigurement. Early on, ABC established a pseudo-corporate identity by showing up at art openings in expensive cars and nice suits, performing the role of Russia's nascent upper-middle class while their colleagues in the Moscow boheme were riding public transport in sweaters and jeans. To solidify that image, ABC made good on their name's promise of "business"--in 2004, they became dealers, selling the work of artists they liked at ABC Gallery. Change happens quickly in Moscow; now that the market has dwarfed institutional influence in Russia's art world, linking the words "art" and "business" doesn't feel as novel as it did in 2001, and Western-style corporate culture has lost the cachet of an exotic interloper. ABC's symbolic launch of the office into space in "Contact" came on the heels of the loss of their own office space; at the end of May, the arts complex where ABC Gallery was located shut down to make room for a new development. While Ilyukhin, Kosolapov, and Struchkova continue to work as artists, businesspeople, and consultants, the events of last summer seem to mark a turning point, a time for reflecting on the future of a project initiated to document social change now that those changes are entrenched.
Join us at the New Museum tomorrow night at 7pm for a variety show organized by Berlin-based collective, curatorial-project and website VVORK (Aleksandra Domanovic, Oliver Laric, Georg Schnitzer and Christoph Priglinger). For "Variety Evening at the New Museum" local performers will stage works by artists Wojciech Kosma, Adrian Piper, Kristin Lucas, ladimir Nikolic, Tao Lin, Pierre Bismuth and Claire Fontaine. Containing readings, video, performance, dance and music, Variety will present the acts together in a dramaturgy that can be understood as a single performance, allowing for new interpretations of each piece. When finished, the evening will be carried on as a single score, with instructions for how it can be repeated at different venues in the future.This event is part of Rhizome's New Silent Series at the New Museum.
This New Silent Series program is made possible by the Austrian Cultural Forum NYC, and the Experimental Television Center, New York.
In the spirit of Raphaël Rozendaal's One Question Interviews, I conducted a "1-bit" interview with Rhizome-commissioned artist Tristan Perich. (I felt the idea was apropos given the artist's interest in the possibilities and constraints of basic forms.) Perich performed earlier this week at bitforms gallery in a benefit for his new album 1-Bit Symphony, which is a 45 minute long, five movement composition for a single microchip. 1-Bit Symphony is currently on display through November 7th at bitforms in New York City, along with Perich's Machine Drawings and his 1-Bit Video. Perich will also kick off a two month, cross-country tour with Lesley Flanigan beginning tomorrow, at the Stone in the East Village. He will be performing his composition for harpsichord and 4-channel 1-bit electronics titled "Dual Synthesis". (Full dates and details here.) I visited his bitforms show today (see photos below) where I had the opportunity to listen to 1-Bit Symphony, and it's truly extraordinary. I encourage readers to stop by. - Ceci Moss
What is your favorite unit of measurement and why?
The first unit of measurement to blow my mind was the parsec, which I came across in middle school in that amazing book, Powers of Ten. It described immensely vast distances, larger than a light year, which was really large. It quantified the universe. It was the first time I realized measurements could actually be cool, really cool. The book also went down to angstroms and fermis and pico fermis, accompanied by colorful illustrations of molecules and atoms. They're the only way we can relate to these huge and small places beyond our perception, essentially meaning, "bigger than you can possibly imagine" or "smaller than you can possibly imagine." A great book called Where Mathematics Comes From goes into how we can ...
Performa, New York's super duper mega whirlwind performance biennial, will take over the city for the next month. I thought I'd assemble a list of events that might be of interest to our audience. Before you dive in, I want to mention that one of our 2009 commissions, Brody Condon's Case, is also part of Performa. Case, a six hour performance and installation based on the classic cyberpunk novel Neuromancer by William Gibson, will take place at the New Museum on Sunday November 22nd from 12pm-6pm, so pencil it in!
Condon’s “Without Sun” (2006), is an edited collection of ‘found performances’ - online videos of individuals who recorded themselves while having a psychedelic experience. The 15 minute video will be followed by a performative re-creation featuring the dancer Linda Austin and actor Russell Edge. Utilizing the original video as choreography document and script, the performers simultaneously repeat the gestures of the individuals, the actor mimicking the voices and the dancer matching the body movements. The title connects the references of memory, technology, and travel in Chris Marker’s seminal personal essay film “Sans Soleil” to the dissociation of bodily control and mental function induced by the hallucinogenic experience in the online videos.
BROADSIDE, the collaborative initiative of Alexander Fleming and Alistaire Knox, will broadcast a series of feminist inspired audio performances, including experimental readings, consciousness raising dialogue, presentations and live music. Contributors include Danny Snelson, Strength in Numbers founder Karen Soskin, curator Wendy Vogel, artist Liz Linden, art historian Jen Kennedy, The Center for Urban Pedagogy, Windy and Carl’s Windy Webber, experimental musicians Crown Now, and more ...!--more-->
Digital Arts and New Media (DANM) Technical Coordinator