Add-Art is a free FireFox add-on which replaces advertising on websites with curated art images. The art shows are updated every two weeks and feature contemporary artists and curators.
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The Firefox add-on China Channel offers internet users outside China to surf the web as if they were in China. Take an unforgetable virtual trip to China and experience the technical expertise of the Chinese Ministry of Information Industry (supported by western companies). It's open source, free and easy.
This essay originated from the anthology DATA browser 04: Creating Insecurity: art and culture in the age of security edited by Wolfgang Sützl and Geoff Cox. The book was published by Autonomedia this year and is licensed under Creative Commons.
Where does security end, and insecurity begin? Systems analysts recognise this as a classic boundary question. Its answer determines the precise deployment of any security system. But as we shall see, this particular boundary question cannot be answered under present conditions, except through the definition of a second system, a specifically interrogatory one. Drawing on the work of an American art critic of the 1960s, I’ll call this second kind of bounded entity an ‘aesthetic system’.
A small but international group show organized by Mireille Bourgeois and Anais Lellouche, "They Told You So" takes its inspiration from the Situationists’ concept of détournement, reusing existing media to convey an opposing or alternate viewpoint. Here sound installation and video are the primary forms utilized. Purporting to address and ensnare the viewer, and using deliberate miscommunication to examine rhetoric and technologies that are oriented towards control, the works achieve varying degrees of success.
This month I’m traveling through southeastern Europe from Venice to Athens, where I’m looking at art and blogging. Part one of the travelogue is about Ljubljana, Slovenia.
Before the Internet Pavilion, there was the first meeting of nettime at the 1995 Venice Biennale. Vuk Ćosić, one of the core participants, told me about it over lunch in Ljubljana last week. Internet theorists and artists gathered for three days of discussion just upstairs from Club Berlin, a non-stop rave where art stars worked the bar. “I remember Joseph Kosuth handing me a beer,” Ćosić said.
The rave was a recurring theme of the four days I spent in Slovenia, and there seemed to be more to it than the Slavs’ enduring love for techno. My visit happened to coincide with the opening night of Sonica, a sound art festival, and the kickoff featured Andi Studer and Matt Spendlove’s Netaudio Ping Pong, where two players build dance music by taking turns at composing four-bar phrases on mixers installed on two ends of a ping-pong table. Škuc, a gallery that has been showcasing progressive art since 1978, was hosting a “live archive” of Slovenian video art from the 1980s and 1990s, and I spent an hour watching works by Mirko Simic, including distillations of his veejay acts at parties fifteen years ago. On Wednesday night, Luka Prinčič performed at a small theater in a university’s basement; between the somber, wordy beginning and end, he danced himself into a sweat wearing silver tights and sparkling tank top. The next night, after a presentation at Kiberpipa where he demonstrated his Puredata modification that introduces elements of probability to the dance tracks he writes to accompany his ...
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VIEW THE INTERNET THE WAY KANYE SEES IT.
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The date is February 9, 1972, and Chris Burden arrives at Channel 3 Cablevision’s studio in Irvine, California, for an interview with Phyllis Lutjeans. The TV station had approached Burden in January and asked him to do a piece for the channel, yet they censored several of his proposals, so he eventually agreed to an interview during which they would discuss the reasons for the station’s refusal of his ideas. Burden brings his own video crew so that he can have a copy of the interview. He requests that the interview be broadcast live, and during the course of the interview Lutjeans asks Burden to discuss a few pieces that he has thought of doing. The artist responds by demonstrating a TV hijack: he takes Lutjeans hostage, holding a knife to her throat and threatening her life if the station stops transmission, while verbally abusing her with threats. At the end of the recording, Burden destroys the station’s tape of the show by dousing it with acetone. He then offers an “irate” station manager his taped version of the show, which includes footage of the show and the destruction of the station’s tape, but the manager refuses. Burden explains in an interview, “T.V. Hijack was ultimately about who is in control over what's presented through the media.” This aggressive act against the restrictive and one-to-many structure of television is what curator Irene Hofmann cites as her original inspiration for the exhibition "Broadcast," now on view at Pratt Manhattan Gallery. The show presents a selection of works, dating from the 1960s to the present, that interrupt broadcasting systems in order to examine or challenge the structure, influence, and power of mainstream television and radio.
Female Extension is perhaps one of the more renown pranks within the history of net.art. For the project, artist Cornelia Sollfrank submitted more than 200 applications by fictitious female artists to the net.art competition EXTENSION sponsored by Galerie der Gegenwart (Gallery of Contemporary Art) of the Hamburger Kunsthalle (Hamburg Art Museum). She created not only a name, email address, phone number, and address for each applicant, but an example of original net.art work as well. Despite the disproportionate number of submissions by female artists, only male artists were selected as finalists. After the decision was announced, Sollfrank went public with the spoof.
Check the website for Female Extension which contains documentation from the project, including an interview with Sollfrank as well as a list of links to the art works she created for the applications.
Digital Arts and New Media (DANM) Technical Coordinator