Rhizome is a proud media partner of New York's annual psychogeographic festival Conflux, which kicked off yesterday evening. See below for the festival's jam-packed schedule this weekend, you can also download a pdf version here or check out their interactive schedule here. All the events are open to the public, and they suggest a $5 donation.
Friday, September 18 11:30am-8:30pm
Unless otherwise noted, all workshops begin in NYU Steinhardt’s Barney building (34 Stuyvesant Street).
Christina Ray & David Darts . Opening Remarks (Commons Gallery, Barney building)
Tianna Kennedy . Swimming Cities of Serenissima
Jessica Thompson . mobile performance device
Marc Horowitz . NYCommercial
Jeff Stark . Subway Theater
Joseph Grima . Storefront for Art and Architecture
Transportation Alternatives . POP.Park: Reclaim Your Street
College of Tactical Culture (CTC) . College of Tactical Culture
Leon Reid IV . An Afternoon With Leon IV
What We Know So Far . Probability
Waterpod . The Waterpod: Life afloat, on the edge of the grid *Begins off-site
Caroline Woolard . OurGoods
Not an Alternative . Occupations and interventions on the urban/cultural landscape
Eve Mosher . Insert _____ here
Theodore Bouloukos . Memes and Temes
Mark Shepard . Sentient City Survival Kit
Elizabeth Streb . PopAction
Andrea Reynosa & Kevin Vertrees . Time Based Landscape Studies *Begins off-site
Carlos J. Gómez de Llarena . Urballoon *Begins off-site
Starting at Conflux headquarters in the Barney Building, Conflux and Foursquare present Foursquare @ Conflux, an interactive iPhone-driven social networking event that will lead participants on a tour of hidden East Village locations.
Saturday, September 19 10:00am-6:00pm
All workshops begin in NYU Steinhardt’s Barney building (34 Stuyvesant Street).
Dara Greenwald, Olivia Robinson and Josh MacPhee . Spectres of Liberty
Julia kaganskiy & An Xiao . E-Derive: Psychogeography and the Digital Landscape
Matt Knutzen . Rebuilding the Historical City
Meredith Johnson . Creative Time
Natalie Jeremijenko . Fish ‘n microChips
Sal Randolph . Free Money & Other Urban Money Actions
Brooke Singer . Demolition Drugstore!
Kurt Braunohler . Urban Disorientation Game
Britta Riley & Rebecca Bray . Windowfarms and R&D-I-Y;
Sharilyn Neidhardt . Human Scale Chess Game
Ricardo Miranda Zúñiga, L.M.Bogad & Andrew Boyd . Fantastic Politics: Art as Political Campaign
Marc Horowitz & Peter Baldes . Google Maps Roadtrip (NYC)
Andrea Reynosa & Kevin Vertrees . Time Based Landscape Studies
Jason Eppink . Adventures in Urban Alchemy
Greg Trefry . Gigaputt: The City is Your Golf Course
Reverend Billy & Savitri D. . Breaking in to Public Space
Tom Angotti . Reclaiming the City, Community Organizing, and Planning
Moses Gates . What’s Your City Horoscope?
Cassim Shepard . Urban Omnibus
From 7-10pm Conflux Founder and Producer Glowlab hosts a party at their 30 Grand Street location in SoHo to coincide with a related exhibition entitled Modern Ruins by artist Emily Henretta.
Sunday, September 20 10:00am-6:00pm
ConfluxCity - city-wide!
Sunday, September 20 from 6-10pm at the Delancey Lounge (168 Delancey St, www.thedelancey.com), a chance to unwind, connect with other Conflux participants and reflect on the weekend’s happenings.
For the first installment of 7 x 7, Why + Wherefore (Summer Guthery, Lumi Tan, and Nicholas Weist) invited 7 organizations to produce an exhibition composed of 7 items around a theme. Rhizome was one contributor, and staff writer Brian Droitcour put together an exhibition of 7 vertical works that exceeded the browser frame. (Other guests included Sundays, iheartphotograph, Triple Canopy, The Highlights, VVORK, and Humble Arts Foundation.) Continuing with the 7 guests, 7 items format is the second round of 7 x 7, where individual curators were asked to contribute an exhibition. So far, João Ribas, Kate McNamara, Josh Kline and Mark Beasley have chimed in with exhibitions ranging from items made in Photoshop to men modeling the durability of their outerwear in advertisements from 1969. The second (the first was VVORK's) sound-specific theme in the 7 x 7 series went live this week, curated by artist Bozidar Brazda. Simply titled "Sound," the show's logo (above) resembles a CAPTCHA, and the works operate in a similar fashion, being both comprehensible and somewhat obscured. Ryan Foerster's Untitled (2009) assembles roughly 15 separate clips of (what I presume) is the Ramones counting off, "1,2,3,4" before launching into a song. The song is omitted, thus the listener is simply left with the lead up. Rich Alrdich's (The Lights Went Out In) Massachusetts (2009) is an acapella version of the Bee Gees' 1967 song and on first listen, it sounds like a late night, drunken recording of a group of ...
This is a reminder to join us next Thursday September 24th for a discussion with Michael Smith at the New Museum. Not to be missed! Full details and ticket information below.
Throughout his career, Michael Smith’s original approach to video, installation, and performance has broken artistic ground—albeit subtly. Steering away from the transgressive actions associated with avant-garde performance, Smith employs the idioms of popular entertainment and comedy to critique culture at large. His eponymous alter ego Mike, who is known for pathologically banal behavior, sends up cultural normalcy and spotlights the ways people consume ideas and lifestyles marketed to them. For this event, New Museum Adjunct Curator and Rhizome Executive Director Lauren Cornell will talk with Smith about his use of comedy, both as a way to engage and quantify audience response and to generate new work. Their conversation will cut through Smith's expansive body of work by focusing on pieces that have been exhibited at the New Museum, including Down in Rec Room, shown in “Not just for Laughs: The Art of Subversion” in 1981; Government Approved Home Fallout Shelter Snackbar (made in collaboration with Alan Herman), shown in “The End of The World” in 1983; and Open House, a site-specific installation by Smith and Joshua White created for the New Museum in 1999.
The Art of Blandman: An Evening with Michael Smith
Thursday, September 24, 2009 at 7pm
at the New Museum
$8 General/ $6 Members
BUY TICKETS HERE
The event is part of Rhizome's New Silent Series.
Structured as a continuous mix of videos from a recent series investigating the parallel historical narratives of disco, gay liberation movements and AIDS. A phantasmagoric elegy for the fallen soldiers in the hidden cultural wars of the 70s and 80s by transforming two sources generally dismissed as vapid and disposable. The musical collaboration between disco singer Sylvester James (a victim of AIDS) and producer Patrick Cowley (who succumbed to AIDS less than three months after the disease was codified) and A Night At Halsted's by queer porn auteur Fred Halsted (who overdosed on sleeping pills after the death of his lover from AIDS) who helped in defining the culture of the era. A labor-intensive digital exegesis of the unconscious spiritual elements hidden in the originals.
Recently, Rhizome partnered with OpenProcessing to launch Tiny Sketch, an open challenge to artists and programmers to create the most compelling creative work possible with the programming language Processing using 200 characters or less. The submission phase for Tiny Sketch has ended and we are happy to announce that in just over one month we received more than 300 submissions! Even though the deadline for submissions has ended you can still participate by helping to determine the winner. Beginning today, all Rhizome members will be able to flex their curatorial muscles by going to the Tiny Sketch Voting Page and ranking each submission. You will have a chance to vote on each submission, ranking them on a scale from 1 to 5. (1 being awful and 5 being awesome.) The voting process is only open to Rhizome members and will last until September, 27th, 11:59 PM (EST) after which we will announce the winner and archive the collection in our ArtBase. We hope that you will be able to take the time to vote for your favorite Tiny Sketch, but if not do yourself a favor and visit the collection page to look at the fantastic range of projects that were accomplished!
A joint initiative between the University of Illinois at Chicago's College of Engineering and School of Art & Design, the Electronic Visualization Laboratory has long operated as a center for interdisciplinary research in art and computer science. Founded in 1973 by artist Daniel Sandin (creator of the Sandin Image Processor, a crucial tool for video artists in the 1970s) and computer scientist Tom DeFanti (developer of the GRASS programming language), over the years EVL has sponsored pivotal research and development in the field of visualization, resulting in output such as the virtual reality theater CAVE (Cave Automatic Virtual Environment) in 1992, the GeoWall in 2001, Varrier in 1999 and the LambdaTable in 2004.
Admittedly, one day of videos is not enough to cover the breadth of EVL's work from the past 36 years. That said, today we will post selections by EVL's faculty and students from the first decade. These clips capture the playfulness and excitement of their creators, as they experiment with new tools and techniques. All of these videos were sourced from EVL's YouTube account, which includes original work and documentation up to the present day.
This is an early video piece staring Dan Sandin in which he explains, in general terms, the functionality of the Sandin Analogue Image Processor (IP). This was the instructional video that accompanied the modules for constructing you own Sandin IP.
Sandin was an advocate of education and espoused a non-commercial philosophy, emphasizing a public access to processing methods and the machines that assist in generating the images. Accordingly, he placed the circuit board layouts for the IP with a commercial circuit board company and freely published schematics and other documentation.
The IP is a general-purpose patch programmable analogue computer, which is different from a regular digital computer, and is optimized to process video/television signals and sound. The video is processed through the IP "live" so that the viewer is able to see the effect on video signals. Initially the video is B&W;, at the end Sandin debuts the 'Color IP'.
This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".