Dream Sequence is a two-channel video installation in which a series of dream images from Jenn and Kevin respectively are seen rotating over our sleeping heads.
Another great interview by Nicholas O'Brien for Chicago-based contemporary art blog Bad At Sports! In this clip, O'Brien speaks with game designer and artist Jason Rohrer. For this series of interviews, O'Brien captures media artists within the medium in which they work - whether it be Second Life, Video, or in the case of the above, Rohrer's game, Sleep Is Death. Rohrer was a panelist for the Rhizome New Silent Series event on indie gaming "Next Level" a few years ago, if you want to watch a video of that talk as an addendum to this interview, go here.
The Dying Gauls are plaster casts of Hellenistic sculptures on which video interviews of young men from Lahore are superimposed. The men are asked about their view of heaven, hell, death and dying.
The casts used here are Dying Gauls. The Dying Gauls were commissioned in commemoration of the victory of the Greek over the Galatians, Celts from Asia Minor. They are part of a larger group of defeated enemies made up of Gauls, Amazons, giants and Persians. Unique in the representations of these Greek enemies is that they are depicted without a triumphing victor.They are seen as defeated but heroic warriors.
At its most basic form, I believe social media is a dialogue. Onamountaintop.com allows users to say whatever it is they want to say with no accounts, no friends and no poking. Once the user’s entry fades to white, their words are gone forever. Just as one’s voice echoes into the valley from a mountain top. Pure poetry.
In this brilliant (and hilarious, and at times, NSFW) clip, Nicholas O'Brien interviews artist Jon Rafman about his work in Second Life for Chicago-based contemporary art blog Bad at Sports. Rafman uses his avatar Kool-Aid Man throughout, of his Kool-Aid Man in Second Life (.com).
Found objects have had a place in art for nearly a century, but the practice has seemed particularly pervasive in recent years, as approaches from both contemporary and historical perspectives have attempted to redefine it as appropriation, nonmonumental, unmonumental, or "combining crap with crap." Fascination with old or overlooked marginalia could be regressive melancholia spawned of the Bush era's resigned cynicism, or sympathy for the poor objects in spite of high-tech consumption. Whatever the case, the sensibility saturates Shana Moulton's Whispering Pines, a series of videos and performances. While sculptural assemblage clusters objects in space, Moulton spreads her thrift-store and gift-shop finds over time. Rather than tracing the artist's web of references through stationary contemplation, the viewer of Whispering Pines is led through the process as Cynthia, the heroine, interacts with the things she has chosen to surround herself with. A Magic Eye 3D poster transports her to a zone of free movement. A swamp-colored facial mask opens a green-screen gateway to a forest clearing. If, in a readymade or sculptural assemblage, the artist endows objects with totemic power by isolating and emphasizing their formal properties (or the subjective associations they evoke for her), then Moulton gives that principle a radically literal interpretation in Whispering Pines, where objects' properties and associations acquire the power to shape the narrative.
Home of the Brave is a 1986 American concert film featuring the music of Laurie Anderson, who also directed the movie. The film's full on-screen title is Home of the Brave: A Film by Laurie Anderson. The performances were filmed in Brooklyn during the summer of 1985.
(Image courtesy of Postmasters gallery)
Between two recent solo exhibitions in New York, at The Whitney Museum of American Art and Postmasters gallery, the popular Jerusalem-born, Berlin-based artist Omer Fast presented three film installations in continued pursuit of his driving preoccupations: the fact/fiction dialectic that underlies film, and the resulting description of any tangible identification of “truth” as abstract.
Fast is known for a practice of importing subjects into culturally fraught scenarios appropriated from the past (Nazi-occupied Poland, colonial America), the present (Iraq) and, perhaps (in the case of the vaguely post-apocalyptic Whitney project), the future. It may seem contradictory to regard setting a film in the present a form of historical borrowing—whose time is this time but ours?—however, if anything is certain about Fast’s otherwise deliberately ambiguous system of filmmaking, it is that casting the setting is always a performative gesture; setting is setting into place and into time. Fast sets human elements into artificial contexts, and any temporal dissonance lacking between where his subjects come from and where they are put is made up for in the unbreachable gap that exists between the experience of being and of being recorded.
Fast’s show at Postmasters, his third since 2002, includes two videos, De Grote Boodschap (2007, 27 min.)—translated literally from the Flemish as “the great message”—and Take a Deep Breath (2008, 27 min.). Neither employs ostensible documentary techniques, in fact their scripts are weighted by a density of plotty clues and keys smuggled in prosaic lines; lines nested in average characters; characters staged in ordinary scenes; scenes camouflaged in a purposefully nondescript aesthetic. The gestalt is a conspicuous banality. To capitalize on this configuration, Fast crafts a suspense that never sags nor hurries, and in ...
► The web web
thewebweb is a net art website in seven acts.
The balance between Internet mythology and new html technology (canvas & js) is perfect.
By Anton Gerasimenko, Sergey Chikuyonok, Kostya Loginov, Showpanorama, Vladislav Yakovlev, Natasha Klimchuk, Kate Malykh, Sergey Filippov, Andrey Zubrilov, Anton Schnaider, Vasily Dubovoy
<~ ~> surfing club
► Avastard by Carlo Lowfi
A great piece with Twitter avatars.
The question about archive when visit really matters.
A Fresh net art overview for 2009 by Tolga Taluy
► Ben Schumacher
Especially his piece 0%
► Junk Jet
A nerdy fanzine discovered in 2009.
► net.art GIANT FUNNEL
The feed I should take on a desert island.