Interview with James Voorhies

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Image: Front of Office of Collective Play, the temporary storefront space that will be used for programming during "Descent to Revolution"

Last Thursday, the new exhibition “Descent to Revolution” organized by Columbus College of Art & Design’s Bureau for Open Culture opened in Columbus, Ohio. Taking place around the city and at a temporary location in a former storefront downtown, “Descent to Revolution” will host residencies by five artist collectives and collaboratives over the course of the next three months. These groups will take up projects that engage and respond to the city of Columbus. The first resident is Portland-based collective Red76, followed by Claire Fontaine, Learning Site, REINIGUNGSGESELLSCHAFT, and Tercerunquinto. “Descent to Revolution” curator and the director of exhibitions for the Bureau for Open Culture James Voorhies took a moment to answer a few questions about the show. You can follow the exhibition as it develops through the "Descent to Revolution" blog, here. - Ceci Moss

It seems like the multidisciplinary and fluid nature of the exhibitory framework for "Descent to Revolution" is a natural extension of the Bureau for Open Culture's activities and ethos. I am wondering if you can speak more about the Bureau for Open Culture itself and how the space came into being.

Yes. "Descent to Revolution" is, in a way, a culmination of some of the underlying ideas of what we're doing at the Bureau for Open Culture. The Bureau for Open Culture was created as a way to give shape to the exhibition program I've been operating since 2006. Many of the projects we've organized have taken place outside of the gallery or had components outside of it and often involved participants from diverse disciplines and locations like libraries, non-profit music venues, city-owned sites, empty storefronts and other area universities ...

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Required Reading

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Image: Red 76, Pop-Up Book Academy #4

Art21's blog posted an interview with artist Sam Gould of Rhizome-commissioned collective Red 76 yesterday. Gould discusses the unique pedagogical models used in Red 76's projects, and the willingness on the part of a number of museums to adopt these methods into their programming. See below for an excerpt, full interview here.

The work, in an artistic sense, that I’m involved in creates zones in which to engage your desires, question your efficacy, and imagine a practice outside of the space in question. It is an educational zone, based on experience and within an experience, but it is not the zone or the experience which is the topic of discussion.

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Giving You S.A.S.E.

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ASDF, the joint collaboration between Mylinh Trieu Nguyen and David Horvitz, announced a new project yesterday, S.A.S.E.. Adopting the format of the self-addressed stamped envelope, where the receiving party sends an empty envelope to the sender in order to obtain a reply, potential viewers of the ten email-based exhibitions must send an email request to ASDF to receive the show in their inbox. Each exhibition contains a statement, a works list, and a selection of images. Many of the exhibitions read much like art projects, such as Michael Mandiberg's "FDIC Insured" in which the artist assembles the corporate logos for banks recently closed by the recession, found from images searches and the Internet Archive's Wayback Machine. Image searches figure into Jess Wilcox's "Discovery of Orange" as well, a show that loosely collects images referring to the color in an effort to illustrate its artificial manufacturing. The results fluctuate from Vincent Van Gogh's Cafe Terrace at Night to a photograph of construction cones to the Nickelodeon logo. ASDF are offering 11" x 17" prints of the email exhibitions as well, but only through - you guessed it - a self-addressed stamped envelope.

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The Open Book

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Last year, Turbulence.org partnered with NewMediaFix, Telic Arts Exchange, and Freewaves to create an online book on interactive and participatory art titled "Networked." The organizers felt writing on this type of art work necessitated a forum that itself was open and interactive, thus they set out to design a site for the publication that would be as dynamic as the work discussed. The "Networked" site, built by Matthew Belanger, is now open for comments, revisions, and translations. Click the below for essays by Kazys Varnelis, Anne Helmond, Jason Freeman, Anna Munster, and Patrick Lichty.

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Multiple Views

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Artist Dan Graham (born 1942) has embraced a wide range of media and genres including film, video, performance, installation, architecture (he collaborated with Jeff Wall in 1989 to build Children’s Pavilion), women’s magazines (Figurative—made in 1965 and reproduced in Harper’s Bazaar in 1968), and rock music (where he has collaborated with musicians such as Glenn Branca and Sonic Youth). Graham is well known for his documentary Rock My Religion (1982-84), a fifty-two minute video that explores the religious and spiritual tendencies underlying the American obsession with rock music. In the exhibition catalog for Don’t Trust Anyone Over Thirty, Diedrich Diederichsen claims that this video is “one of the most important texts on the theory of rock music.” Rock My Religion, as well as many other of these interdisciplinary projects are included in Graham’s current solo show, Dan Graham: Beyond, at the Whitney Museum of American Art in New York City.

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Twitter SK8 (2009) - JODI

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Wireless Keyboard / Skateboards Streaming to Twitter

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Night at the Museum

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Tonight at MOCA in Los Angeles, Rhizome-commissioned artists Knifeandfork (Brian House and Sue Huang) will invite visitors to race remote-control cars through the museum's current exhibition, "A Changing Ratio: Painting and Sculpture from the Collection." Titled MOCA Grand Prix, the race marks the final event of Knifeandfork's three-month Engagement Party residency at the museum. Each Wi-Fi-enabled car is mounted with a camera, allowing players to remotely direct the cars through the space via a videogame interface showing the car’s point of view. Awards will be presented for the fastest times of the evening. This event is free and open to the public.

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Interview with InCUBATE

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InCUBATE storefront (Photo by Bryce Dwyer)

I first encountered InCUBATE’s work at Creative Time’s exhibition “Convergence Center at Park Avenue Armory.” For the run of the show, this Chicago-based artist-run organization set up a temporary soup cafe in collaboration with artist Robin Hewlett and artist group Material Exchange. Visitors were invited to purchase soup, and these funds were then directed toward small grants to support art projects. The soup cafe was an extension of their ongoing project Sunday Soup, which offers monthly meals in their storefront space in order to fundraise money for individual artist’s projects. Sunday Soup is but one example of the alternative economic models put forth by InCUBATE’s varied activities and research. In a shaky economic climate, InCUBATE’s grassroots approach to arts funding propose useful solutions to enduring, and most likely, increasingly pressing obstacles. For our ongoing series dealing with contemporary art and the recession, I decided to interview InCUBATE (Abigail Satinsky, Bryce Dwyer, Roman Petruniak, and Matthew Joynt) about their activities. - Ceci Moss

What is InCUBATE and how did it begin?

InCUBATE stands for the Institute for Community Understanding Between Art and the Everyday. We are an experimental research institute and artist residency program dedicated to exploring new approaches to arts administration and arts funding. Acting as curators, researchers and co-producers of artist's projects, our main focus has been to explore ways that artists, both historically and today, have incorporated models of resource allocation, community building, funding structures and forms of exchange as part of their artistic practice.

We originally came together while studying Arts Administration and Policy at the School of the Art Institute of Chicago. Given our desire to provoke a critical recognition of how art practices can better relate to alternative systems of economic and cultural exchange ...

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ZEE (2008) - Kurt Hentschlaeger

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ZEE: Kurt Hentschlaeger [STRP 2009, Eindhoven] from mediateletipos on Vimeo.

Documentation of the installation ZEE by Kurt Hentschlaeger from this past weekend's STRP Festival. Footage by/from mediateletipos.

ZEE is a "mind-scape" in which artificial fog and stroboscopic light fully obscure the physical installation space, resulting in an almost complete disconnect from the without and offering an entry towards a surprise within.

Stroboscopic- and pulse light filtering through the thick fog augment an impression of a luminescent kinetic sphere wherein the environment acts as the seeding stimulant and you synthesize the impression.

Based on the research and findings with FEED, the performance, ZEE is expanding on composing with multiple interfering strobe lights amidst fog and the effects those have on a human perception and decoding apparatus: the brain.

A surround sound-scape synchronizes to interference phenomena - of what could be described as a psychedelic architecture of pure light.

-- FROM THE ARTIST'S STATEMENT

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Hanging-Out-Watching.TV (2008-Ongoing) - David Berezin and AIDS-3D

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