Originally from wigged productions
In this series of posts, we will be reblogging content from Rhizome's Archives, available here. This interview with Cornelia Sollfrank, conducted by Florian Cramer, comes from Rhizome's former publication, the Rhizome Digest. It was published on March 31, 2002. You can peruse old editions of the Rhizome Digest here.
Big thanks to Rhizome's curatorial fellow Natalie Saltiel for help with this post.
Date: 3.15.2002 From: Florian Cramer (cantsin AT zedat.fu-berlin.de) Subject: Hacking the Art OS--Interview with Cornelia Sollfrank Keywords: net art, hacking, gender, design
[This is the English translation of the original-length German interview. Copyleft and publication data is given at the end. -FC]
Hacking the art operating system
Cornelia Sollfrank interviewed by Florian Cramer, December 28th, 2001, during the annual congress of the Chaos Computer Club (German Hacker's Club) in Berlin.+ + +
I have questions on various thematic complexes which in your work seem to be continually referring to each other: hacking and art, computer generated, or more specifically, generative art, cyberfeminism, or the questions that your new work entitled 'Improvised Tele-vision' throw up. And of course the thematic complex plagiarism and appropriation - as well as what can be seen as an appendix to that, art and code, code art and code aesthetics.
Surely code art and code aesthetics are more your themes than mine. I think I should be the one asking the questions here. (laughter)
...no, this refers very specifically to statements made by you, for example in your Telepolis interview with 0100101110111001.org, which I found excellent because of its rather sceptical undertones. If that really is more my area though, then by all means we can bracket it out of the interview.
No, no. I didn't mean it like that. Quite the opposite in fact. However that is what is so interesting and difficult about the relationship between these complexes - and which I often find myself arguing about. A lot of things appear to run parallel, or better put, one invests more in one area for a particular period of time, then returns back to something else. To keep an eye on how these various activities link together is not easy.
In this short clip, filmmaker Bruce McClure is interviewed on the occasion of the 25 FPS International Experimental Film and Video Festival 2010. Video by Daria Blažević, Mario Kozina and Igor Lušić.
This interview originally appeared Video Vortex Reader II: moving images beyond YouTube (Institute of Network Cultures, Amsterdam, March 2011) edited by Geert Lovink and Rachel Somers Miles. The Video Vortex Reader II launches this week in conjunction with the Video Vortex #6 conference at TrouwAmsterdam in Amsterdam on Friday March 11th and Saturday March 12th.
Natalie Bookchin and Blake Stimson first met in New York in the early 1990s when they were both affiliated with the Whitney Independent Study Program. This exchange took place over email, for the most part between their respective homes in Southern and Northern California during the summer of 2010.
Although she has a rich and varied artistic background, one theme that has regularly come to the fore in Natalie Bookchin’s work is a concern with documentary. In some of her early work, this concern seemed to emphasize the inhumanity of recording machines in the way that Andy Warhol’s, or perhaps Gerhard Richter’s, work did. In a different way, the entire ‘found object’ tradition associated with Duchampian indifference, and still so manifest in much contemporary art, also seemed to feature in Bookchin’s work. Here, we might recall an early piece for which Bookchin photographed everything she owned, object by object, down to the last paperclip; or perhaps, in a different sense, the Universal Page she created with Alexei Shulgin in 2000, which promised an algorithmically derived objective average of all web content. In one sense, her recent work of gathering videos from the internet might be said to continue in this vein—at least insofar as she is functioning as an aggregator of existing content drawn largely from YouTube, in a way similar to a service like Digg or any of the many interest or attention measuring functions of the web (not the least being Google and other search engines).
On the other hand, Bookchin’s work possesses a strong, even impassioned, activist element of the sort consistent with the reportage tradition extending back to John Heartfield and Sergei Tretiakov, or Jacob Riis and Lewis Hine before them. For example, in the interview Bookchin and Shulgin published in conjunction with the exhibition of Universal Page, Bookchin spoke of that time as one that demanded ‘superactivity’ because ‘there are vitally important things that need to be done’ to ‘resist total corporate, technological, and institutional takeovers’. In addition, her multiplayer game agoraXchange was created in collaboration with the political theorist Jackie Stevens, and called for ‘an end to the system of nation-states, the demise of rules rendering us passive objects tied to identities and locations given at birth’, and the elimination of ‘those laws requiring us to live and be seen largely as vessels for ancestral identities’. And finally, there was her very funny announcement, in 1999, of her intention for a journal titled BAD (standing for Burn the Artworld Down) that was ‘committed to the documentation of acts of terrorism and agitation against the institutional art world’. All of these works have performative dimensions to them, and as such call up a sense of tongue-in-cheek detachment from the subjects they purport to represent. Yet, to varying degrees, they also seem earnest and forceful political statements.
The Future of Art was shot from the 1st through the 6th of February 2011 during Transmediale. The short film asks the following: What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership in art? How does micropatronage change the way artists produce and distribute artwork? The creators behind The Future of Art describe the project as "an immediated autodocumentary" where "immediation is immediate mediation – an instant transfer of experience into media, enabling self-reflection and perspective shift. Immediation enables collaborative storytelling via frameworks of participation. Autodocumentary; auto as in autodidactic + documentary. Autodocumentaries are made by the people they are about."
No Layout is a new online platform for independent art and fashion publishers. While mainstream print publishers are struggling to address online content, making their magazines available through clunky PDF apps like Exactly or posting limited articles to their websites, no one has yet come up with a solution for the relatively niche market of independent art publications and zines. No Layout, started by Daniel Pianetti, provides a fully readable library of this print material. So far, their roster rivals that of a well curated museum bookstore or specialty shop, including gallerist Javier Peres' art mag Daddy, Swiss contemporary art journal der:die:das:, urbanism magazine Monu, small art zines like FPCF, and even historical publications like the avant garde journal 291 from 1915, to name a few of the 100 or so publishers available through the site. I spoke with Pianetti to find out more about the project.
Here's a short video documenting Allora & Calzadilla's work Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano (2008), which the group will perform on an hourly schedule, every day, at MOMA until January 10, 2011.
Kickstarter, the funding platform for creative projects, will host a panel tomorrow at the New Museum at 3pm, as part of the "Free" exhibition. We posted an mini interview with panelists filmmaker Zana Briski and artists Michael Crow & Lenka Clayton to the Free blog. You can read the interview here. Short description of the event below.
Founded in 2009, Kickstarter is the largest funding platform for creative projects in the world. Every month, tens of thousands of people pledge millions of dollars to projects from the worlds of music, film, art, technology, design, food, publishing and other creative fields. Kickstarter is a new form of patronage and commerce: creators offer products and experiences that are unique to each project, and keep 100% ownership and control over their work. What underlies Kickstarter’s straightforward premise is a powerful alternate model of funding for the arts: one that enables creators, of all stripes, to realize their projects without the support of the grants, galleries, or the larger art world apparatus. It also raises certain fundamental questions: such as, does art lose its mystique if it is financing is laid bare? How do artworks exist outside the parameters of the art world? Is art, in 2010, at home in mass culture? For this panel, Kickstarter founders Perry Chen and Yancey Strickler will be in conversation with artists who have successfully used this platform to realize projects: Michael Crowe & Lenka Clayton (of Mysterious Letters), Zana Briski (of Reverence & Born Into Brothels), Zach Lieberman (of EyeWriter).
Greek-Italian artist Angelo Plessas’ interactive websites (Angeloplessas.com) integrate elements of drawing, sound, Flash animation and innovative HTML coding. Each of his online two-dimensional “sculptures” is sealed with a domain name that playfully evokes the language of philosophy, literature and drama. Challenging concepts of space and ownership on the Internet, Plessas’ websites are, like graffiti bombed on a public wall, the acts of a guerrilla artist intervening in public space.
Plessas has come a long way since his first and ongoing aesthetic project: documenting face-like compositions he discovers in random configurations of objects and architecture (InternationalPortraitGallery.com). He officially launched his artistic career in 2001 when artist and curator Miltos Manetas selected his work for the Internet-inspired group show Biennale.net at Deitch Projects, New York. Now, the artist is exploring projects that take on a curatorial scope, including the recent one-day video projection extravaganza Bring Your Own Beamer at the Kunsthalle Athena.
With the lines between his online and offline work becoming increasingly blurred, Plessas is evolving in the manner of his medium. As the Internet expands, so does Plessas’ practice, and as the artist matures, perhaps he might shed light on where the Internet might take us. Sitting at his seaside apartment in Athens, Plessas takes me on a journey through his virtual universe, which ultimately leads right back to reality itself…whatever that might be, or could become.