Posts for 2012

Artist Profile: Jesse Darling

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iKea [Stockholm Syndrome], Single-channel video, LCD TV screen, 2012

Can you talk about the body of work you've just finished? Where do you see yourself going from here?

My solo show (at Arcadia_Missa), Stockholm Syndrome and Other System Failures, felt like a manifesto as opposed to a showcase or retrospective. It was kind of a show within a show, a meta-installation; the work sat on plinths and IKEA cabinets placed alongside each other, and everything was painted thickly in shitty white vinyl emulsion (I feel like white paint is interesting as a symbol of structural violence - institutionalisation, gentrification, erasure). There were some discrete works in there - Padded Cell (Sultan), Please Let This Be Real, iKea, There's A Little Pre-911 Myspace In All of Us. But the other stuff on show was just what was generated in the labor of putting it all together: tools and detritus. The broom, the beer trolley, the paint pot. I didn't want to clean it up. I didn't want to make the distinction. Everything had a museum card and a price tag: post-fordism on speedy drugs [for enhanced pleasure and better performance]. I've had my blue period, like, my Facebook period, and I think I'm just about done with IKEA, but I'm still interested in the tension between the production of an art object and the collateral damage (material, financial, emotional) of that production process. I guess in my case the art object is an analogue for the subject in the world. Maybe even a self-portrait.

Your Tumblr is a great repository of images, videos, and texts that seem to commingle and collide in a way reminiscent of Benjamin's Arcades. Of course, there's something inherent in the structure and aesthetic of Tumblr that invites that comparison ...

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The Download: >get >put - an exhibition download

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Screen shot of >get >put – an exhibition download (2012)

This month, The Download presents >get >put – an exhibition download (2012) an installation of digital compositions produced by Alexandra Gorczynski, A. Bill Miller, Benjamin Farahmand, Giselle Zatonyl, Derek Frech, and Travess Smalley in tandem with their physical pieces for the exhibition >get >put at little berlin in Philadelphia, PA

>get >put is an exploration of the interplay between the physical, social and digital spaces of networked culture. Installed as a series of digital compositions anchored in spatiotemporal objects, the work focuses around the fundamental shared behaviors of ‘downloading’ and ‘uploading’ that support our networked world. The exhibition exists in two parts – as digital compositions installed in HTML for this download, and as physical pieces produced for the exhibition’s installation.

The Download gives a first look to great art for Rhizome members. Start your own digital art collection by becoming a member today.

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Scenes from the London 3D Printshow

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Matthew Plummer-Fernandez, Digital Natives (2012)

“The internet changed the world in the 1990s, the world is about to change again,” read much of the promotional literature for the recent 3D Printshow in London. The commercial exhibitors might have benefited from a far more modest tag line, but the art work exhibited, separate from the main trade section of the show, gave much new to think about regarding the the relationship between technology and craft.

 Frederik de Wilde, M1ne IIII (2012)

I was immediately intrigued by the two sculptural objects on display by Frederik de Wilde. The cobalt chrome models had been printed from data gathered from Belgian coal mines. They presented themselves as futuristic objects with a link to Europe's industrial heritage. The representations of the coal mines came to the 3D Printshow as seemingly abstract objects but, were actually formed by a much more political process. It had been a laborious process for de Wilde to get access to the data. He remarked that being granted permission to use a data source as an artist is almost an art form in itself. The Belgian government are protective over the information as the mines contain elements of interest to multinationals and other nations. De Wilde was not permitted in the work to reveal the location of the mines and had to abstract the forms so that interested parties could not gain commercial advantage. The custodians of the data had a large say in what the outcome of the piece would be. This is an intriguing collaborative process if it can be considered as such. The models of the coal mines had been stacked inside each other to create fragile vessels, that also further abstracted the context of the data. The production values of both objects were also noteworthy. I ...

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Rhizome Digest: Best of Rhizome October

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 HaveBlue's 3D printed gun.

Interviews:

Essays:

Reviews:

Five Videos:

Artist Profiles:

 

Prosthetic Knowledge Picks:

More:

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Thank You to Our Sponsors

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We would like to take a brief moment to thank this month’s sponsors. These are the organizations and companies that keep us publishing, so be sure to check them out!

Featured Advertisers

  • Guggenheim - Stillspotting nyc is a multidisciplinary project that takes the museum’s Architecture and Urban Studies programming out into the streets of the city’s five boroughs.
  • Asia Society Museum - Bound Unbound: Lin Tianmiao represents the artist’s first major solo exhibition in the United States.
  • Creative Time - Creative Time Reports features Artists’ analysis of pressing news and events from around the world.
  • Association of Public Art - Open Air, an interactive art installation that allows participants’ voices to transform the night sky over Philadelphia’s historic Benjamin Franklin Parkway.
  • Curator’s Office - Progressive contemporary micro-gallery and curatorial service bureau for offsite projects and exhibitions in Washington, DC.
  • Art Miami -  Miami’s premier anchor fair, showcases the best in modern and contemporary art from more than 100 international art galleries. December 4-9, 2012...

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Attention! Criticism and its Distractions

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Rhizome contributor Orit Gat was invited to speak at Frieze Art Fair earlier this month. Audio from the panel, "Attention! Criticism and its Distractions," organized by Brian Dillon, is now available to download on the Frieze Foundation website.

Much of the panel's discussion refers to the essay Gat wrote for Rhizome last spring, "Screen. Image. Text":

The generations to come of age in the days of digital publishing and reading on screens have a much more complicated relationship with images. The human eye-brain system is capable of reading a large number of high quality images in a matter of split seconds, and this, alongside the hand-eye coordination—think about the pleasure of a touch screen versus inky newspaper pages—is rapidly developing to mirror our changing habits of consuming information. So much so that the contemporary heightened sensitivity to the way we read images can lead to an ability to, at times, ignore the quality of the images when inserted into a text, the way our brain glides over a typo in the flow of reading. The way we read images online is only one thing these magazines deal with in the process of publishing, but it is surely an element that dictates a large portion of the reading experience of these publications.

 

The first issue of the Illustrated London News (1842)

The endless discussions on the future of print bring up the contemporary fluency with images on a regular basis. Aside from the fact that digital publishing is often cheaper and always easier to disseminate, many consider the role of the image in digital publishing to be a key aspect in the contemporary experience of reading. The benefits of handheld devices are considered time and again, especially in relation to embedding a variety of image formats: slideshows, moving ...

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Gallery in Your Pocket: An Interview with Chiara Passa

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Francoise Gamma

Widget Art Gallery, developed and curated by Chiara Passa, is an exhibition space that fits in your pocket. This digital gallery is an app for iPhones and iPads. Over email, I asked Passa several questions about the project:

What was your motivation behind starting the Widget Art Gallery?

Different reasons led me to start the Widget Art Gallery.

The first one is that I’ve always wanted to do my own curatorial digital art project in relation to a space.

The second reason is the economic crisis. So, it was unreasonable for me to rent an exposition space since it was too binding, and three years ago I decided to create a virtual display space that Id thought extremely coherent in order to show digital art; simple to manage for me and easy to understand for users. Due to our needs that seem to be increasingly handheld, WAG was born. The Widget Art Gallery is a mini three-D, single art gallery room that fits into people’s pocket.

The virtual gallery-room, every month, directly on people’s mobile, hosts a solo digital art exhibition related to the dynamic site-specific contest. So the WAG works both as a sort of kunsthall showing temporary exhibitions and as a permanent collection museum because it conserves all the past exhibitions inside an online archive.

The third aim is a conceptual and emotional one. Recently, I was surprised by the increasing involvement of the audience that I am seeing in some recent mobile-art projects, so I wanted to create a virtual space accessible to everybody by simply using an internet connection. The Widget Art Gallery is a free Safari Mobile Web-based App and works online through two different links for IPhone and IPad. It’s also possible to download the widget version for mac-osx dashboard.

The fourth motivation is a technical one. I’ve built the WAG within the HTML5 programming language and JavaScript functions; therefore it’s simpler to manage and to make some modifications each time there is an update and to switch to the next exhibition, without depending by Apple Store and their decisions/upgrades.

Do you think that bringing the online exhibition to a mobile platform brings it closer to the initial experience of the modern gallery show — i.e. trying to have a private interaction with a work of art in a very public place?

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Five Videos: Kristin Lucas' Cameras That Steal the Show

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Cameras are everywhere, they may actually outnumber us. I count three on my person at this very moment, having made no conscious effort to pack them. Cameras come between us, and their presence can divide and unite us. Having its own body, view, and memory, the camera behaves sometimes like an independent actor. The camera arrives on scene as an unintended guest.


Narrowing my search from millions of YouTube videos down to five, I gravitated toward those that share in common a moment where the camera becomes evident in the video, often in a surprising way that punctuates a social relationship, and where the line between an hospitable or inhospitable act is obscured....

 

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Rhizome for Chelsea Sound

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The Future is Fantastic (If You Want It)

 

CHELSEA SOUND is a day-long not-for-profit mini-festival of experimental sound on Saturday, October 27th in Chelsea's gallery district, organized and hosted jointly by Eyebeam, Printed Matter, Electronic Arts Intermix, Family Business.

Organized jointly by the four non-profits, Chelsea Sound will be a day-long event devoted to music in contemporary art - artists who make work with sound and musicians who draw inspiration from art. Taking place in Chelsea's Gallery District on Saturday, October 27th, the collaboratively-produced festival will include a series of performances, sound installations, and video screenings throughout the day across four venues. Performances are free and open to the public and will run between 2-9 PM.

With their varied missions and commitment to different media, each organization brings its own specific vantage point for looking at how artists and musicians fuel each other's ideas and work. 

In honor of the event, we would like to take a minute to highlight one upcoming sound related project we are working on at Rhizome:

Part of New Silent Series, The Future Is Fantastic (If You Want It) is a participatory performance of the collective, Fantastic Future's website, an open platform and archive for sharing and collaging feild recordings. Fantastic Futures is a collaborative team of students, artists, doctors, and future leaders from Iraq and the United States. For their recently completed Rhizome Commission, Fantastic Futures created a free and open online sound archive that examines concepts of time through the recording, collaging, and sharing of sounds between these two countries. To further explore shared experiences of time, memory, and trauma between countries in conflict, audience members will be blindfolded for a portion of the event to enhance a synesthetic experience—listening to light.

This event will take place 7PM Friday ...

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Artist Profile: Andrea Longacre-White

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Untitled, 2012 archival inkjet print.

Many of your works seem interested in the tension between analog and digital in the creation and reception of a work, like physical xerox scans of the screen of an iPad.  To what degree do you connect a piece to the technological platform on which it was made?

The Pad Scans are scans of an iPad. The iPad is confused by the light from the scanner that produces heat making it think it’s being touched. So the scans are capturing the iPad rolling over to another web page, making visible these digital or web in between spaces.

Error feels a sign of humanness. For me it’s important to insert that into an image or work dealing with mediation and technology. In this constant looping between the physical and digital worlds images are unstable in that they are left always open to reuse.

I also recently learned the term ‘retronym’, which feels a linguistic insight into my working process. (A paralleling of technological advances and in the face of them a return to the past to update/qualify/recontextualize.)

Your naming conventions vacillate between identifying their originating platform (iPhone Videos, Pad Scans) and describing their final form (Prints of Plays). In terms of these degrees of mediation from an initial image, how important to you is the ultimate format of the work versus its role in destabilizing that image’s objecthood?

Everything is important in different degrees at different times in different works in different ways. There is so much process, yet when pieces are ‘finished’ as in hanging on a gallery wall there is no separation between image and form or object and picture. Though this unification is so fleeting, as it lasts for the course of a show and only if you ...

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