A proposal to remake Ed Ruscha’s classic bookwork, replacing the corporate lots with the private lots that spring up in my neighborhood once a year, during the Canadian National Exhibition. A folk-art archive of sorts.
Cars are a defining feature of the landscape and social space of Southern California. Especially in San Diego, where freeways weave like dangerous ribbons through a terrain of strip malls and tract housing, driving is an almost inescapable part of daily life...
On August 31, 1994 from 6am to noon, a team of 50 professional and volunteer parking attendants directed the arriving cars to predetermined lots according to car color. Each of the fourteen lots was filled with cars of a different color: dark blue, blue, light metallic blue, silver & gray, black, beige, brown, metallic raspberry, yellow, electric blue, white, aqua, green and red.
Unsuspecting pedestrians will be tickled, stretched, flicked or removed entirely in real-time by a giant deity.
The debut Abandon Normal Devices (AND) launched in the North West of England, 23rd -27th September 2009. The inaugural festival was centred in the city of Liverpool with satellite events taking place in Manchester. AND, a collaboration between FACT (Foundation for Art and Creative Technology) in Liverpool, folly in Lancaster and Cornerhouse in Manchester positions itself as a mixture of new cinema, digital culture and media art, showcasing work in partnership with galleries, venues and public spaces around the city. Over five days, the festival featured a broad array of conferences, talks, exhibitions, screenings, performances and online works, with artists and practitioners from a wide range of backgrounds including, The Yes Men, MARIN (Media Art Research Interdisciplinary Network), Blast Theory, DJ Spooky and Michael Connor. FACT acted as the central hub for the festival and hosted the majority of screenings, talks and events; it also celebrated its 20-year anniversary on the opening night.
In line with its snappy title, the festival set out to discard all that is typical, regular or average, seeking to question normality in an array of forms. There was a particular focus on exploring disruption to traditional methods of production and distribution in cinema and media art. Interfering and interrupting the familiar and ordinary were played out in public space, on screen and through performance.
The festival opened with a new performance/lecture by Carolee Schneemann, renowned for her performance work of the 60’s and 70’s that challenged the normalised perceptions of the body, sexuality and gender. In a work which took the format of a lecture, titled Mysteries of the Iconographies, Schneemann went on a journey through the creative products of her life from early childhood drawings, through painting, to performance and video installation. The performance was accompanied ...
Rhizome is a proud media partner of New York's annual psychogeographic festival Conflux, which kicked off yesterday evening. See below for the festival's jam-packed schedule this weekend, you can also download a pdf version here or check out their interactive schedule here. All the events are open to the public, and they suggest a $5 donation.
Friday, September 18 11:30am-8:30pm
Unless otherwise noted, all workshops begin in NYU Steinhardt’s Barney building (34 Stuyvesant Street).
Christina Ray & David Darts . Opening Remarks (Commons Gallery, Barney building)
Tianna Kennedy . Swimming Cities of Serenissima
Jessica Thompson . mobile performance device
Marc Horowitz . NYCommercial
Jeff Stark . Subway Theater
Joseph Grima . Storefront for Art and Architecture
Transportation Alternatives . POP.Park: Reclaim Your Street
College of Tactical Culture (CTC) . College of Tactical Culture
Leon Reid IV . An Afternoon With Leon IV
What We Know So Far . Probability
Waterpod . The Waterpod: Life afloat, on the edge of the grid *Begins off-site
Caroline Woolard . OurGoods
Not an Alternative . Occupations and interventions on the urban/cultural landscape
Eve Mosher . Insert _____ here
Theodore Bouloukos . Memes and Temes
Mark Shepard . Sentient City Survival Kit
Elizabeth Streb . PopAction
Andrea Reynosa & Kevin Vertrees . Time Based Landscape Studies *Begins off-site
Carlos J. Gómez de Llarena . Urballoon *Begins off-site
Starting at Conflux headquarters in the Barney Building, Conflux and Foursquare present Foursquare @ Conflux, an interactive iPhone-driven social networking event that will lead participants on a tour of hidden East Village locations.
Saturday, September 19 10:00am-6:00pm
All workshops begin in NYU Steinhardt’s Barney building (34 Stuyvesant Street).
Dara Greenwald, Olivia Robinson and Josh MacPhee . Spectres of Liberty
Julia kaganskiy & An Xiao . E-Derive: Psychogeography and the Digital Landscape
Matt Knutzen . Rebuilding the Historical City
Meredith Johnson . Creative Time
Natalie Jeremijenko . Fish ‘n microChips
Sal Randolph . Free Money & Other Urban Money Actions
Brooke Singer . Demolition Drugstore!
Kurt Braunohler . Urban Disorientation Game
Britta Riley & Rebecca Bray . Windowfarms and R&D-I-Y;
Sharilyn Neidhardt . Human Scale Chess Game
Ricardo Miranda Zúñiga, L.M.Bogad & Andrew Boyd . Fantastic Politics: Art as Political Campaign
Marc Horowitz & Peter Baldes . Google Maps Roadtrip (NYC)
Andrea Reynosa & Kevin Vertrees . Time Based Landscape Studies
Jason Eppink . Adventures in Urban Alchemy
Greg Trefry . Gigaputt: The City is Your Golf Course
Reverend Billy & Savitri D. . Breaking in to Public Space
Tom Angotti . Reclaiming the City, Community Organizing, and Planning
Moses Gates . What’s Your City Horoscope?
Cassim Shepard . Urban Omnibus
From 7-10pm Conflux Founder and Producer Glowlab hosts a party at their 30 Grand Street location in SoHo to coincide with a related exhibition entitled Modern Ruins by artist Emily Henretta.
Sunday, September 20 10:00am-6:00pm
ConfluxCity - city-wide!
Sunday, September 20 from 6-10pm at the Delancey Lounge (168 Delancey St, www.thedelancey.com), a chance to unwind, connect with other Conflux participants and reflect on the weekend’s happenings.
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 ...
To get to “PLOT 09: This World & Nearer Ones,” situated within the architecture and verdant landscape of Governors Island, you make your way to the southern tip of Manhattan, board a ferry decorated with signs that read “SHEEP” and “GOATS” (Mark Wallinger's cheeky contribution to the exhibition), and cross the mere half-mile stretch of water known as Buttermilk Channel. The journey is long and elaborate enough to make you feel like you have embarked on an exciting, uncertain adventure. The island is decorated with a pastiche of architectural styles that indicate its rich history; Victorian houses mingle amongst an abandoned movie theater, an 18th-century fortress, an Episcopalian Chapel, a castle, and stern, seemingly haunted brick abandoned military and coast guard housing. PLOT09 is Creative Time's new public art quadrennial, and for its inaugural exhibition curator Mark Beasley invited nineteen international artists to respond to their surroundings. In an environment decidedly marked by its 400-year history, several of the strongest works in the show used this history as a point of departure.
Adam Chodzko's video installation Echo tells an imagined story about the children of the military personnel who once occupied Governors Island. According to the film, the children often gathered in the basement of the Officer's Club, directly below the ballroom in which the film is screened, to play an invented game where participants attempted to shed their material possessions through trade. In opposition to a capitalist logic, objects of high value were swapped for ephemera. The fictional trades made in the film recall the seeming improbability of unequal transactions made in history, like the initial trade of Governors Island by Native Americans to Dutch settler Wouter van Twiller for two axe heads ...
Annual psychogeography festival Conflux is currently seeking proposals for "ConfluxCity" which will occur on September 20th during the run of the festival this Fall. Participants will have the opportunity to "organize, promote, and host their own activities and events" at the Conflux headquarters during the event. To read more about the project and to apply, visit the call on the Conflux website.