In Krystof Wodiczko's striking installation Out of Here: The Veterans Project, currently on view at the ICA in Boston, choppers roar overhead. People scream in the distance. Glass breaks and shatters on the floor. The viewer can see almost nothing; the large room is dark, except for a few windows high above, created by a row of video projections. The view from these windows is obscured; the piece is as much about what you can't see than what you do see. But even more importantly, the piece is about what you hear--and what you can't hear. The chants of an imam become the sounds of women wailing. Gunshots begin to fire sporadically. Military officers yell harsh commands. The rumble of bass—a swarm of Humvees in the distance, drawing closer—gets louder and more threatening. The longer you stay in the room, immersed in the increasing racket, the more palpable the sense of dread becomes. The harrowing sounds of war are not simply about the sounds themselves, but the spaces in between.
In the intriguing new book Sonic Warfare: Sound, Affect, and the Ecology of Fear [MIT Press], Steve Goodman explores the power of sound as a tactic of irritation, intimidation, or even permanent harm. Goodman analyzes "environments, or ecologies, in which sound contributes to an immersive atmosphere or ambience of fear and dread--where sound helps produce a bad vibe."
TextBild MMIX curated by Agnes Altziebler, Werner Fenz, Evelyn Kraus & Birgit Kulterer.
Text plays a special role in the complex make-up of the public space - even if it is often barely perceptible in all the densely packed visual overlaps. The “TextBild MMIX” project liberates it from different contexts, isolating it and thus helping it achieve its own effect: A sentence appears in the form of neon writing on a single day in a single place in Styria - then the van, vehicle of this unfamiliar, foreign text, which is a synonym for strangeness as a social source of irritation, vanishes again. In this way, Styrian artists and writers inscribe their own specific texts into the various places, thus seeking to achieve a radical concentration. The subject is strictly the present: MMIX are the Roman numerals for the year 2009.
Long Island City's contemporary art center P.S.1 recently launched Studio Visit - a space for New York area artists to share a "virtual presentation" of their studio with a short artist's statement and bio. Imagine a DIY version of the Selby or Fecal Face's Studio Visits series. Like these sites, it taps into the reader's voyeuristic curiosity to see a side of the artist's process perhaps not immediately apparent in their output. The aim of Studio Visit is to promote visibility for these artists, cultivate a locally focused network and, one would assume, solicit offline studio visits as well. The initiative is in keeping with the institution's past "Greater New York" exhibition, which spotlighted work from emerging New York area artists with great breadth and success. However, like any new website, it looks like they're still sorting out the kinks. It would be helpful if they could add an RSS feed for recent submissions, so visitors don't need to check back to the site. I also noticed that quite a few artists ignored the fields in the submission form requesting photos of the interior and exterior of their studios -- it might be wise to require that as part of the process, especially if showcasing one's studio is a primary purpose of the site.
F.A.T. Labs have declared this week "Graffiti Markup Language Week" on their blog - and each day they've posted GML-related updates. What exactly is Graffiti Markup Language? It's an XML file type developed by F.A.T. Labs that stores the motion data created by tagging -- allowing graffiti writers to share, study, and catalog their tags. Check the below for a brief overview:
What has GML week brought us so far? Over the past few days, F.A.T. Labs introduced:
► An iPhone version of Graffiti Analysis DustTag v1.0 - this handy App allows users to trace their tags and add them to the GML database http://000000book.com/ using an iPhone.
► Graffiti Analysis 2.0 - the new and improved Graffiti Analysis includes the aforementioned iPhone App DustTag v1.0, along with updates to the tracking, playback, controls and graphics, as well as previously unreleased source code and downloads to Windows, Mac and Linux versions of the playback and capture applications.
Each year, Rhizome awards grants to eleven emerging artists for the creation of original works of new media art. Established in 2001, the Rhizome Commissions Program has awarded sixty-four grants throughout its history to projects that have gone on to have a great impact in the field of contemporary art. At this event, recently commissioned artists Kristin Lucas, Joe McKay, Maria del Carmen Montoya & Kevin Patton and Angelo Plessas will present and discuss their works in progress.
Rhizome presents Cinema Fury, an action-media performance created by Caden Manson / Big Art Group. Organized by Nick Hallett, Cinema Fury will be an immersive installation and a participatory performance that is designed to bring the audience into the action.
In Cinema Fury, Big Art Group will explore the idea of corruption in the information age, and the chaotic possibilities that arise through errors, glitches, and interruptions within digital transmissions. By reinterpreting models of data transmission and decomposition as performance strategies, Cinema Fury opens new interpretive pathways to understanding the process of contemporary “media-ization.” Concepts of transmogrification, both of the folkloric and post-digital varieties, recur throughout. Big Art Group will draw on material from two upcoming major productions: Flesh Tone (2010) and No Show (2011).
Friday January 15th, 7pm
at the New Museum, New York, NY
$10 Members/ $12 General Public
BUY TICKETS HERE
It is a new year with new beginnings, and there is only one week left to contribute to Rhizome’s annual Community Campaign. We need to raise $8,500 to reach our goal of $35,000. Your support—a contribution however large or small—can help us do it.
$35,000 is not an arbitrary figure: it’s an amount necessary for keeping our programs—commissions, preservation, publishing, resources for our community—running in 2010.
Please make a contribution today:
Your contribution will get you a Rhizome membership, ensuring a year full of art, events, new ideas, new discoveries and more. As special thanks for contributing, we are offering limited-edition art works available until the end of the Campaign on midnight January 14th.
Further examining the medium of film itself, Colorfilm is a work Lawder made while trying to make a minimalist, "pure color" film. Using spliced-together strips of colored film leader in white, yellow, blue, red, green, etc., Lawder ran the film through a projector and found the results to be quite boring. While he was running the film, though, he noticed how beautiful the colored strips of film looked as they ran through the projector. So, he turned a camera on the projector and filmed the colored film gorgeously winding its way through the projector's machinery." - Noel Black, Colorado Springs Independent
Music by The Mothers of Invention.