Last Friday, Seven on Seven participants teamed up to invent something new and on Saturday they presented these projects at the conference held at the New Museum. Videos of the participants working on their projects at AOL's New York office are up on AOL Artists. Videos from the conference will be posted shortly.
More on Duh-Real and Computers Club. Interview with DIS. Petra Cortright's 2007 interview with Katheleen Daniel for Rhizome.
Migrating Forms returns this week with its third annual festival, running Friday, May 20th through Sunday, May 29th at Anthology Film Archives in New York. Nellie Killian and Kevin McGarry have selected new work by more than 48 artists representing a broad spectrum of contemporary film and video practices, retrospective screenings, and special guest curated programs. Here are a few highlights to look forward to:
Saturday, May 21, 2011 at 3:45 PM
Group Program 1
The Yellow Bank (30 min., USA/China, 2010) dir. J.P. Sniadecki
Tokyo-Ebisu (5 min., Japan, 2010) dir. Tomonari Nishikawa
Track One (2 min., Taiwan/USA, 2011) dir. eteam
In the Absence of Light, Darkness Prevails (14 min., USA/Brazil, 2010) dir. Fern Silva
Saturday, May 21, 2011 at 8:30 PM
Holidays in the Sun: Cynthia Maughan (70 min.) dir. Cynthia Maughan
Sunday, May 22, 2011 at 9:15 PM
Group Program 4
The Writer in Residence (3 min., UK, 2010) dir. Stephen Sutcliffe
Art Tape: Live With / Think About (3 min., USA, 2011) dir. Michael Bell-Smith
I, Popeye (6 min., USA, 2010) dir. Takeshi Murata
Your Life/Your Language (7 min., USA, 2010) dir. Jacob Ciocci
The Galactic Pot Healer (9 min., USA, 2010) dir. Shana Moulton
The Artist (10 min., UK, 2010) dir. Laure Prouvost
Versions (9 min., Germany, 2011) dir. Oliver Laric
Thursday, May 26, 2011 at 9:15 PM
The Art of the Supercut (40 min., video)
Re-edit master and pop culture parser Rich Juzwiak (fourfour.typepad.com, VH1) presents a program of his influences and favorites. Followed by a screening of Curt Hanks epic Star Wars: Chewbacca Supercut
Friday, May 27, 2011 at 9:30 PM
The winner of the Emdash Award 2011 is the video and performance artist Anahita Razmi , who is based in Stuttgart. Razmi's previous works have dealt with issues concerning identity and gender, employing objects with a national and cultural significance or citing the work of high-profile female artists... Razmi will present a new commission that intends to draw attention to how Tehran's skyline was recently used by protestors after the Iranian presidential election. She will use choreographer Trisha Brown's 1971 work Roof Piece, which took place on 12 different rooftops over a ten-block area in downtown New York, as its point of departure. The work will be presented as a video installation at Frieze Art Fair.
Razmi studied at Akademie für Bildende Künste, Stuttgart; Pratt Institute, New York; and Bauhaus-Universität Weimar. Selected shows and projects from 2011 include: Videonale 13, Kunstmuseum Bonn; 'Division by Zero,' Carbon12, Dubai; 'Make - Believe – Remake,' Kunstverein Friedrichshafen.
The Emdash Award allows an emerging artist based outside the UK to realise a major project at Frieze Art Fair as part of the critically acclaimed Frieze Projects programme. The award is supported by the Emdash Foundation, a private foundation with a mission to support new ideas and emerging talent across disciplines, from the arts and cultural projects to science.
Links for your weekend:
Sadly, Raquel Meyers won't be at this weekend's Blip Festival in New York (Wired reports due to passport issues), but her music videos are worth checking out. Notes from Duncan Malashock's talk at NURTUREart Gallery for the Soft Power show. Malashock explains his early computer art experiences with SuperPaint, NUDE.BAS, HyperCard, and Myst: The graphics were made with 3D software, but the interactive game itself was created using HyperCard. Imagine my encouragement when I found that out and took a look at the code for myself, since I admired the creators of the game for their ability to evoke a mood and tell a story with very few words or human characters Vincenzo Natali is set to direct William Gibson's "Neuromancer." Natali is currently working on a film based on JG Ballard's High Rise. Brody Condon's Neuromancer. Minecraft Ghibli World, a tribute to Hayao Miyazaki (Metafilter.) And Minecraft Acid Trip Shader Mod. Frieze Art Fair is coming to New York. Neon Boneyard, where Vegas lights go to die. A Brief History of Timezones I have to ask myself what I expect from painting: should it be subservient to my ideas or a queen that I have to serve? - Neo Rauch in an interview with The Art Newspaper Brazil no longer, as Julian Dibbell puts it, the "Great Southern Hope" for copyright reform. (compare and contrast with Dibbell's 2004 Wired story) Motherboard visits Babycastles (Previously on Rhizome) Bunch of great sci-fi writers list their favorite sci-fi writing. Brian Aldiss on Olaf Stapledon, William Gibson on Alfred Bester, Christopher Priest on JG Ballard, etc. Performances In Front of Sol Lewitt (via Tom Moody) Notations 21, a compendium and anthology ...
The question of exhibiting art online has lingered since the early years of internet art. Last month Mike Golby and Jillian Kay Ross entered the conversation with their inaugural exhibition FREE 4 ALL at Barmecidal Projects. Barmecidal Projects is an entirely digital 3D gallery that is a virtual replica of Mathew Marks gallery in New York. FREE 4 ALL, which ran from April 16th- May 16th with an accompanying opening at Butcher Gallery in Toronto, features work by Alex Mcleod, Amalia Ulman, Arielle Gavin, Brad Tinmouth, Brian Khek, Danielle Bessada, David Hanes, Emily Jones, Georgia Dickie, Iain Ball, Jennifer Chan, Jillian Kay Ross, Jon Rafman, Justin Bochek, Jónó Mí Ló, Jarrod Wilson, Kaitlin Till- Landry, Lauren Brick, Lauren Elder, Lee Ormerod, Liam Wylie, Lili Huston- Herterich, Mike Goldby, Orlando Orellano, Rachael Milton, Shelbi Chew, and Tara Downs.
The gallery’s name Barmecidal, "providing only the illusion of abundance; illusory or imaginary and therefore disappointing," is manifest in the articulation of the virtual exhibition space. By mapping the traditional white cube onto a virtual model, Barmecidal Projects explores the modes of exhibition in both real and artificial space. Golby and Ross aspire to:
…bring together artists working in digital and immaterial forms. Digitally created works existing in the space are rendered in high-gloss, hyperrealistic fashion. Having these objects exist in the gallery space further blurs the boundaries between the Real and representation; the works will be so shiny and irresistible by virtue of their digital nature that they will supersede reality.
Due the technical limitations of the simulated model, visitors are unable to browse through the gallery freely and are lead through a video tour that moves quickly through the space. The experience ...
Audio from Mark Fisher's Talk: "There Are Non-Times As Well As Non-Places: Reflections On Hauntology"
In the last decade, the proliferation of corporate non-places has been accompanied by the spread of cyberspace-time, or Itime, a distributed or unpunctuated temporality. It’s no coincidence that, as this unmarked time increasingly came to dominate cultural and psychic space, Derrida’s concept hauntology (re)emerged as the name for a paradoxical zeitgeist. In ‘Specters of Marx’, Derrida argued that the hauntological was characterised by “a time out of joint”, and this broken time has been expressed in cultural objects that return to a wounded or distorted version of the past in flight from a waning sense of the present. Sometimes accused of nostalgia, the most powerful examples of hauntological culture actually show that nostalgia is no longer possible. In conditions where pastiche has become normalised, the question has to be: nostalgia compared to what?
James Bridle has recently argued that “the opposite of hauntology ... [is] to demand the radically new”, but hauntology in fact operates as a kind of thwarted preservation of such demands in conditions where - for the moment at least - they cannot be met. Whereas cyberspace-time tends towards the generation of cultural moments that are as interchangeable as transnational franchise outlets, hauntology involves the staining of particular places with time - albeit a time that is out of joint. In this lecture, Fisher will explore the hauntological culture of the last few years in relation to the question of place, using examples from music (Burial, The Caretaker, Ekoplekz, Richard Skelton), film (Chris Petit, Patrick Keiller) and fiction (Alan Garner, David Peace).
Brody Condon Without Sun (Video), 2008 Found performance documentation, 15 min
Named after the classic Chris Marker video Sans Soleil, Condon’s Without Sun is a edited compilation of “found performances” of individuals on a psychedelic substance. Images and sounds from the various clips collected from the internet overlap and combine into one seamless experience, creating a 15 minute pseudo-narrative focused on the exterior surface of their "projection of self" into visionary worlds. Condon’s global players in Without Sun have recorded themselves looking at the camera this time. Taking up where Marker left off, these (inner) travelogues question memory, perception, and the effects of current participatory media and technology on culture.
Cory Arcangel: Pro Tools opens Thursday at The Whitney. Here are some interviews in advance:
I Sing the Gadget Electronic, New York Times
“There’s something inherently absurd about people sitting in front of their TVs and controlling a virtual 3-D representation of themselves bowling a ball down a lane,” he said. In modifying his games so that their characters are destined to fail, he said, he’s used advanced technology to unspectacular ends, so “all you’re left with is a repeated, infinite letdown.”
Futurism, The New Yorker
We had an Atari early on, but we never had a Nintendo. I’d watch my friends play when I went to their houses, but that’s it. I think that’s why my pieces are about watching, not interacting.”
The Joys of Obsolescence, New York magazineFor the series “Photoshop Gradient Demonstrations,”Arcangel took the titular computer files—rectangles of color, fading from one tone into the next, intended as guides for graphic artists—and ordered them made into the enormous, gallery-quality color photographs known as C-prints. You might mistake them for Ellsworth Kelly–ish paintings until you realize that the gradients are standard-issue with the software, with no inherent artistic content. “I realized that it doesn’t make sense to only use old stuff, because everything’s gonna be old at a certain point,” says Arcangel. “In twenty years, my C-prints might look tacky. In 40 years, they might be kitschy.”
Over the weekend Eyebeam Art & Technology Center hosted the fifth annual Blip Festival. The three day concert series is a hub for the chiptune scene, an international community of musicians composing, arranging, and performing music for vintage computer and game systems such as Gameboy, NES, Commodore 64, and Amiga. For a sound that is left one-dimensional on record and is conflated with gamer culture, Blip provides the optimal conditions for absorbing the scene's depth and diversity. While the genre obviously draws influence from video game soundtracks, this is due in part to the parametric limitations of the medium and its composition environment. Stylistically, the weekend's oeuvre ranged from super posi 8bit pop-punk, to the darker more aggressive corners of electronic music and noise.
On display throughout the three evenings was the Blip Festival Gallery curated by Lindsay Howard. Three video monitors featured works from Sterling Crispin, Alexandra Gorczynski, and Nicolas Sassoon. This rotating exhibition was limited though to a small peripheral area by the entrance, and would have benefited greatly by expanding into the main gallery space. Instead the corners of Eyebeam's main gallery were occupied by vendors offering goods such as Makerbots, Gameboy accessories, and cupcakes. Among the festival's standout performances were: Tristan Perich (2010 Rhizome Commission recipient), offering a performance drawing from his 1 bit symphonies and 4mat, a veteran of the demoscene, and composer of music for the Amiga, presenting his debut public appearance (accompanied by stunning visuals from Enso). Unsurprisingly though co-organizers, and scene veterans Bit Shifter and Nullsleep stole the show (Nullsleep's visuals provided by Tabor Robak), both exuding pure energy with unstudied stage presence.