Roth launched Animated Gif Mashup 2.0 last week at SPEED SHOW vol.1: TELE-INTERNET curated by Aram Bartholl.
(RE)MAKE Tutorial is a multimedia piece entirely based on popular, free and available web found elements: a software for image retouching, an online music listening platform, and a picture found on internet.
Photography or video? This work appears as a “work in progress”, an accidental proposition, similar to a tutorial through its assembling process. (RE)MAKE Tutorial is a low tech adaptation which revisits one of the most traumatizing Hollywood’s cinema production: JAWS. The motionless sea is brought back to life thanks to the simple Photoshop selection tool.
From the moment YouTube launched, viewers have developed ingenious ways to manipulate the unlimited store of videos contained on the site. See below for a few choice web-based tools-slash-art projects that allow you to do everything from crossfade to add a cascade of blood drops. Feel free to contribute additional links in the comments section.
For this installment of General Web Content, our monthly series spotlighting cultural developments on the web, we visit one sub-genre of the mashup, the re-cut trailer. These short clips spoof the original storyline of the film, thus Sleepless In Seattle becomes a horror movie in which Meg Ryan comes to Seattle to terrorize Tom Hanks and his son, and The Ring becomes a romantic drama. These videos started bubbling up in a big way after The Shining re-cut trailer hit in 2005, and as a result of easy access to video editing suites, there are tons of 'em all over the web. See below for a few choice selections, please post your favorites in the comments section.
The Wizard of Oz with Pink Floyd’s Dark Side of the Moon
Need a demented holiday soundtrack to add that je-ne-sais-quoi to your Christmas celebration? Then take a listen to this. People Like Us, aka Vicki Bennett, who's been appropriating and remixing found footage and sound into her own surreal blend for over 17 years now, put together this special Christmas mix in 2004 as part of Christian Marclay's Sounds of Christmas project at the Tate Modern. For this interactive installation/performance, Marclay invited notable turntablists and DJs to remix his personal collection of 1,200 Christmas albums live. People Like Us use Marclay's yuletide LPs to make one ridiculous cacophony, and this track will surely jumpstart a round of al-al-al-aF or Fa-la-la-la.
For his solo show at London's Seventeen Gallery, Berlin-based Austrian artist Oliver Laric is showing three video projects that put a recursive spin on his previous work. The artist's 50 50 project, in which he seamlessly strung together fifty YouTube clips of strangers singing three songs by hip hop artist 50 Cent, has received praise around the internet and the art world for its remix of both 50's music and vernacular video culture. But now he's showing a recomprised version of the piece (50 50 2008, a remix of his own remix) by using all new clips. The mass availability of videos of people singing these three songs speaks both to the popular appeal of the music and of the act of performing for the home movie camera--thus deepening the initial resonance of Laric's project. For Touch My Body (Green Screen Version), the artist took the nerd-loving video for Mariah Carey's hit single and made a template for chroma-keyed remixes by YouTube users by digitally replacing the background images surrounding the starlet's body with a flat green backdrop. At Seventeen, Laric is showing not only his template video, but also the remixes that internet users (other net artists and general surfers alike) uploaded to the web. This decision emphasizes the project's dependence on the notion of fandom, which is both participatory and collaborative by nature. Laric's inviting template also susses out the often creative and productive nature of fan culture, particularly with regard to the internet, where appropriation and distribution tend to be fast and easy. Finally, his multi-channel work,
Since the first time I saw Planningtorock (alias Janine Rostron) perform her arch, musical exhumation of vaudeville and glam, I've craved an opportunity to get a closer look at the singer's collection of masks, helmets, futuro-medieval costuming and props -- like the fake bone she periodically nibbles during "I Wanna Bite Ya." Such performance ephemera rarely enters the realm of public exhibition, though can be as aesthetically significant as anything specifically conceived for the white cube. All of which makes "Sonic Voices, Rocking Hard," opening August 30th at Netherlands Media Art Institute, a particularly welcome affair. Co-curated by multidisciplinary artist Nathalie Bruys, the show comprises works by a group of practitioners, including Jonas Ohlsson and Heidi Happy, who also straddle the boundary of music and image-making. Beyond Planningtorock's contribution -- a prop and video installation -- Guy Bar Amotz will display sculptural mash-ups of speakers and keyboards, Annika Ström will show The Missed Concert (2005), a series of interviews with "fans" explaining their absence from a recent performance, and Norweigian artist Kim Hiorthøy will exhibit some of his exquisite, graphite drawings, building upon past works that found DJs, break-dancers and downright fanciful figures mingling in quintessentially Scandinavian settings. On the musical end of the spectrum, "Sonic Voices, Rocking Hard" boasts listening posts throughout the gallery space; Björk, CocoRosie and The Knife will contribute music videos; and a handful of the participants will perform during the Uitmarkt cultural weekend (including the bewitching Ms. Rostron). - Tyler Coburn
Image: Heidi Happy, du da, ich da (Music Video), 2007