Posts for January 2011

2011 (2011) - Claude Closky

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Originally via VVORK

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Untitled (corrupted data, 67,4 Mb, mpeg, file date : 23.03.1997) (2009) - Sean Snyder

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Originally via VVORK

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Google Variations (2010) - Leonardo Solaas

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"Paint It Google"

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"Beautiful Signs"


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"The Nongoogles"

Google Variations is a 2010 commission by Turbulence.

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Mansion (2010) - Tabor Robak

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Mansion is a virtual environment designed by artist Tabor Robak, exhibited as part of Jstchillin's ongoing series.

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Slightly Eleven (2010) - Rene Hell

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Disc: Void (2009) - Yoshi Sodeoka

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REDUX (2010) - Chris Collins

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All those present at Cincinnati-based project space CS13 on Saturday, December 11th, participated in redubbing an excerpt of Jurassic Park. This included foley effects, an improvisational score, as well as dialogue. This is the result.


-- FROM THE ARTIST'S WEBSITE

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Reminder: Whispering Pines 10 at the New Museum Jan 8 and Jan 9

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Join us this weekend for two performances of Shana Moulton and Nick Hallett's multimedia opera Whispering Pines 10 at the New Museum.



Saturday, January 8, 4 p.m. BUY TICKETS
Sunday, January 9, 4 p.m. BUY TICKETS

Whispering Pines 10 is a one-act opera by artist Shana Moulton in collaboration with composer Nick Hallett, and featuring vocalist Daisy Press. It features a live performance by Moulton as her alter ego Cynthia, a hypochondriac agoraphobe prone to colorful hallucinations and absurd fantasies. While Cynthia seeks health and total happiness within her virtual environment—an interactive video set that utilizes real-time multimedia techniques its creators call “live animation”—she usually settles for fad cures and new-age kitsch, creating situations in turn comic, contemplative, and surreal. This new production of the opera is directed by Elyse Singer.

Whispering Pines is the celebrated video serial created by Moulton in 2002 that has previously spawned nine episodes, along with related performances, videos, and gallery installations. Whispering Pines 10—the latest installment—is an innovative performance hybrid that incorporates elements of traditional opera into contemporary video and performance art. Its premise—a woman alone in her private environment, aided by technology—enables a flexible sensibility wherein popular and experimental forms can mingle. The original music and libretto composed by Hallett takes advantage of the narrative’s dream logic to weave what is essentially a pop music vocabulary into an experimental idiom, enabling a virtuosic exploration of the human voice. As the protagonist does not effectively speak, the sounds of her inner psychology are sung—glossolalia and the songs in her memory, ostensibly derived from tacky pulp culture, but somehow heightened. The work is a conversation-generating update of the monodrama or “mad scene,” realized within a mediated, medicated, feminized, and quintessentially American vernacular.

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Rewind the BETAMAX of life: Nam June Paik at Tate Liverpool and FACT

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Nam June Paik (1932 - 2006) is an artist fabled for what he has achieved, as the instigator of video art, the pioneer of media art and through his influence on the indebted MTV generation. It's as if his career is almost made for the retrospective exhibition. His work is bound to his legacy, and his influence is hard to encompass. The importance of this legacy asks two parallel questions, how to preserve, present and document but also how to react, trace and respond. Both are targeted through a new joint exhibition of Paik's work at Tate Liverpool and FACT (Foundation for Art and Creative Technology), the first major retrospective of his work since his death in 2006 and the first exhibition of his work in the UK since 1988.

Tate presents a comprehensive chronicle of Paik's movements through the avant-garde, in performance, composition, television and sculpture. There are TV sets, robots and Buddhas, mixed with historical documentation, vitrines filled with exhibition programs, posters and photographs and timelines drawn on walls, which denote his many collaborators and read like a roll call of the most influential artists of the 20th century - John Cage, Karlheinz Stockhausen, Joseph Beuys and Merce Cunningham.

In contrast to the Tate, where you can look and listen with historical meticulousness, at FACT you are given a remote control. Here you are encouraged to relax, in an archive lounge, and browse a collection of his video works at leisure. Or lie back underneath Laser Cone (1998) and be dazzled.

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Take the W.A.G.E. Survey

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W.A.G.E. (Working Artists and the Greater Economy) is conducting a survey of visual and performance artists who have worked on exhibitions in New York with either or both:

Small to Medium Non-Profit Institutions

Large Non-Profit Institutions & Museums

Visit the links above to take the survey. Information collected will help yield greater transparency regarding the economic practices of arts organizations in New York City. You can read more about W.A.G.E. and their activities here or read their mission statement below.

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