Contemporary media art collective CONT3XT.NET posted an interview with Amsterdam-based artist Jan Robert Leegte. Leegte discusses his practice, and how his physical sculptural works engage the virtual. See the introduction below, full interview here.
Between reality and illusion, between abstraction and the ornament, between the virtual and the real, between architecture and art - the main focus in Jan Robert Leegte’s artworks are the spaces inbetween. The Amsterdam-based artist continuously deconstructs the experience of architecture and sculpture by questioning the perception of space and material which is alternately brought into relation to the real as well as to the digital space. Since the mid-1990s the academically trained sculptor and architect works on the transfer of digital media into expanded installative arrangements. Very early he started exploring the multifaceted formal possibilities of the Internet-browser for its sculptural feature: buttons, scrollbars and table borders were used for real space installations which had the same quality as his previous studio and computer work. The elements of the browser appear to have a striking physical reality mostly gained by the large public daily use, interactivity, animation and especially the three-dimensional extrusion.
The experience-based way of testing physical reality defines the choice of material in his installations and Internet-based work, which has often been said to have late-modernistic tendencies. Ultimately he develops so called single-serving-sites, which are defined as “web sites comprised of a single page with a dedicated domain name and do only one thing.” In Blue Monochrome .com (2008) for example Jan Robert Leegte makes use of the tools of Google-Earth to transform satellite images of the globe’s water surface into ready-mades. Geographic coordinates are linked to the coordinates of a website, the real space is linked to the virtual; the title of the artwork represents ...
A few works here from the group show "Exhibition One" curated by Timur Si-Qin for Chrystal Gallery and Gentili Apri. Artists include Kari Altmann, Charles Broskoski, Lindsay Lawson, Billy Rennekamp, Maxwell Simmer, and Harm Van Den Dorpel. All the works are computer rendered models of three dimensional objects, and the exhibit asks, "Where does an artwork stop and its documentation begin? What is the function of a prospective image that is decisively not-a-model?"
The Retrospectroscope was made using a single sheet of Plexiglas 5 ft. in diameter, and was mounted directly on a stand and illuminated from behind. As an optical device, its function was to create the illusion of movement utilizing large format still images. The "Retrospectroscope" apparatus has gone through many incarnations, its presence belies the processes that have created it. As a pre-cinematic device, it traces an evolutionary trajectory, encircling the viewer in a procession of flickering fantasies of fragmented lyricism. This re-invention simulates the illusion of the analysis of motion to recall early mysteries of the quest for this very discovery now taken for granted; the "Muses of Cinema" represented by the female figures on the disk, have emerged from a dark Neoclassical past.
This just in: Lower East Side gallery Ludlow 38 will organize an exhibit of sound artist Maryanne Amacher's City-Links (1967-1981), an early networked sound installation. You can read more about the original project below, show opens on October 20th.
Ludlow 38 is pleased to present the exhibition Maryanne Amacher: City-Links. Between 1967 and 1981 the pioneering sound artist produced 22 City-Links projects in total, connecting distant microphones to installations and performances using dedicated FM-quality analog phone lines. Areas of downtown Buffalo, MIT, Boston Harbor, the Mississippi River, the New York harbor, studios in various locations, and other sites in the USA and abroad were transported, sometimes integrating performers near the microphones (such as John Cage and George Lewis for City-Links #18 performed at The Kitchen in 1979). The exhibition at Ludlow 38 brings together a number of documents, images and sound samples selected and reproduced from the nascent Amacher Archive as a first look at this important series of early telematic art works about which little has been published.
Maryanne Amacher wrote about her City-Links series: In my first sound works I developed the idea of sonic telepresence, introducing the use of telecommunication in sound installations. In the telelink installations "CITY-LINKS" #1-22 (1967- ) the sounds from one or more remote environment (in a city, or in several cities) are transmitted “live” to the exhibition space, as an ongoing sonic environment. I produce the "CITY-LINKS" installations using real-time telelinks to transmit the sound from microphones I place in the selected environments, spatializing these works with many different sonic environments: harbors, steel mills, stone towers, flour mills, factories, silos, airports, rivers, open fields, utility companies, and with musicians "on location." The adventure is in receiving live sonic spaces from more than one location at the same time - the tower, the ocean ...
The latest edition of Abandon Normal Devices (AND) Festival has jumped across the Northwest UK from Liverpool, where it debuted last year to Manchester. In its second major urban manifestation, after a small rural retreat in the Peak District, the festival followed its previous format and presented exhibitions, performances, cinema screening, talks and workshops across cultural venues in the city. Seeking to agitate, AND’s theme of questioning normality in various forms was represented in Manchester with a focus on identity.
YouTube Play, the biennial of creative video organized by the Guggenheim, YouTube, and HP, has been up for awhile, but tonight from 8-9:30pm the Guggenheim Museum in New York will host an event celebrating the project. The top videos, selected by an eclectic jury ranging from the likes of Laurie Anderson to Ryan McGinley, will be projected on the facade and in the interior rotunda, and there will live performances by OK Go, Kutman, LXD, Megan Washington and Mike Relm. If you can't make it in person, there will be a live stream as well.
Note: Next month on November 10th, we will run an essay by Saskia Korsten on one of the YouTube Play selections, Evelien Lohbeck's noteboek (2008), which will discuss the work as it relates to Korsten's concept of "reversed remediation."
This rich pamphlet grew out of The Internet as Playground and Factory, a conference organized at The New School and held in November 2009. In this seventh pamphlet in the Situated Technologies Pamphlets Series, Trebor Scholz and Laura Y. Liu reflect on the relationship between labor and technology in urban space, where communication, attention, and physical movement generate financial value for a small number of private stakeholders. Online and off, Internet users are increasingly wielded as a resource for economic amelioration, for private capture, and the channels of communication are becoming increasingly inscrutable. The Internet has become a simple-to-join, anyone-can-play system where the sites and practices of work and play, as well as production and reproduction, are increasingly unnoticeable.
Norbert Wiener warned that the role of new technology under capitalism would intensify the exploitation of workers. For Michel Foucault, institutions used technologies of power to control individual bodies. In her essay “Free Labor” (1999), Tiziana Terranova described what constitutes “voluntarily given, unwaged, enjoyed and exploited, free labor on the Net.” Along these lines, Liu and Scholz ask: How does the intertwining of labor and play complicate our understanding of exploitation and “the urban”?
This pamphlet aims to understand “the urban” through the lens of digital and not-digital work in terms of those less visible sites and forms of work such as homework, care work, interactivity on social networking sites, life energy spent contributing to corporate crowd sourcing projects, and other unpaid work. While we are discussing the shift of labor markets to the Internet, the authors contend that traditional sweatshop economies continue to structure the urban environment.
The pages of this pamphlet unfold between a film still from Alex Rivera’s Sleep Dealer on the front cover and an image by Lewis Hine on the back. Set in the near ...