May 18, 2008
By
Ceci Moss
on Friday, May 16th, 2008 at 4:00 pm.
Stills from a
new video by Javier Morales and John Michael Boling
John Michael Boling will speak this weekend on the panel "Connected Consciousness: Art, Media, and the Internet" organized for Tokion Magazine's annual
Creativity Now Conference. Boling will be joined by three other artists--
Jill Magid,
Michael Bell-Smith, and
Jeff Lieberman. The discussion will be moderated by Rhizome's Executive Director Lauren Cornell. The talk begins at 4pm on Sunday May 18th at Cooper Union in New York City. Don't miss it!
By
Tyler Coburn
on Friday, May 16th, 2008 at 1:46 pm.
Christian Marclay, Stereo Volume, 1989
"Stereo," Christian Marclay's first solo exhibition at San Francisco's Fraenkel Gallery, surveys "concepts of doubling and echoes" across the American artist's career. Since the mid-1970s, Marclay has uniquely navigated the visual and sonic realms, exploring the materiality of equipment like the gramophone, turntables and record through processes that foreground what the artist calls the "unwanted sounds" of the mediums: the clicks, pops, scratches and deterioration that hold "expressive power" in themselves. In the past decade, Marclay has extended his position as cultural archivist with acclaimed installations like Video Quartet (2001) and Crossfire (2007), respectively comprising sequences of musical performance and gunshots assembled from dozens of feature-films.
Christian Marclay, Untitled, 1984
Consisting of twenty-five works -- the majority of them two-dimensional -- "Stereo" offers a timely retrospective of a side of Marclay's practice not always given due attention relative to his video and audio-based work. For Yin and Yang (1983), from his Recycled Records (1980-1986) series, Marclay cuts and reassembles two records according to the yin-yang design, rendering an unplayable product that also signifies turntable culture's collage ethos. This approach can also be observed in paper works like Untitled (1984) and Double Tuba (1992), both of which find the artist producing fanciful modifications to instruments and equipment through paper collage. Seen within the broader scope of Marclay's body of work, these objects offer examples of how visual art can provide conceptual space to reimagine sound and sound technology. -- Tyler Coburn
Link »
Reblog
Originally
from Rhizome.org Announcements
at May 16, 2008 12:16 am
published by Ceci Moss
The Intelligence Community Presents: THE FREE TRANSLATORS
Public information URL:
http://www.sabinegruffat.com/FreeTranslators.html
PRESS RELEASE:
Reminiscent of the do-it-yourself approach of the Riot Grrrl movement, this Spring two feminist provocateurs are taking their multimedia show on the road. Mary Billyou and Sabine Gruffat are hailing from Brooklyn, NY and Madison, WI to present "The Free Translators" touring east coast cities and towns with a program of radical videos and performances.
As the title suggests, The Free Translators' video program is inspired by widely accessible texts. The artists perform in many of their own videos, sometimes enacting the news, dictating words written by the Marquis de Sade, or excerpting from Virginia Woolf's anti-war essays. By re-interpreting the texts for the audience, the videos explore notions of identity and communication, re-imagining issues raised by feminist consciousness, the quality of attention today in the midst of multiple authorial references, and the diminished space of citizenship around the monologue of mass media.
In between video screenings, The Free Translators present two "Live Tactical Translations," or, live multimedia experiments inspired by 1970s feminist art and Soviet avant-garde news troupes. Culling from their library of text, sound, and image, alter egos Miss Reading and Miss Recognition communicate through matching headsets and manipulate analog recordings as they educate audiences in their unique methods of reading and comprehension.
[CONTINUED]
Type →
work,
announcement
Genre →
event
Keywords →
media activism,
representation
Reblog
Originally
from Art Fag City
at May 16, 2008 12:30 pm
published by Ceci Moss
Executive director Lauren Cornell and Christopher Pappas responding surprisingly well to having had their picture taken four times.
I missed the VIP portion of Rhizome’s benefit last night, which means I have nothing but second hand reports on the honoring of artist Lynn Hershman Leeson and the founder of del.icio.us, Joshua Schachter. It's too bad because I hear Lynn Hershman Leeson delivered an incredibly moving speech, though I do have this great photo essay in it's place. I'm not much of a photographer, so my pictures weren't taken with any objective in mind, though I hope by some fluke they capture the high spirits of the evening, and general convivial vibe. Photographs after the jump. MORE
Paddy over at Art Fag City snapped some shots of the benefit last night. We will post our photos next week. Thanks to everyone- the party was a success!
May 16, 2008
According to a fan-crafted info video, micro-blogging service Twitter allows users to stay in touch "between blog posts and emails" (and, one assumes, texting, phone calls, instant messaging, and actually seeing each other). The product's success appears to divide technophiles into two parties: folks who see it as one of the coolest web 2.0 innovations, and those who think it's merely superfluous and clingy. Experimentation with Twitter follows this pattern. On one hand are the inevitable mash-ups, capitalizing the data-harvesting capabilities of the rich social medium, some offering clever takes on Twitter visualization. For example, Twitter's own Twitter Blocks transforms a user's network into a maplike grid of 3D boxes. Amy Hoy and Thomas Fuchs's twistori seeks out real-time twitter posts (aka "tweets") that employ the language of basic drives and desires--love, hate, think, believe, feel, wish. The site then streams a color-coded procession that reveals how the Twitter crowd maintain emotional bonds via brief mundanities. In the more critical camp are attempts to use Twitter as a textual broadcasting channel. Past real-time projects The Good Captain and Bloomsday on Twitter shoehorned the content of old print (Herman Melville's Benito Cereno and a passage from James Joyce's Ulysses, respectively) into Twitter's haiku-like format of 140 characters or less per line, commenting on the social spaces created by Twitter via cross-media disjunction. In keeping with the post-conceptual, historically-aware irony that has become a marker of contemporary internet art, Twitter user jennyholzer has been reissuing statements from the 80s art-star for almost a year--will user lawrenceweiner likewise emerge? Guthrie Lonergan takes the impulse a notch more meta by describing VVORK blog updates in telegraph-style tweets. There's a larger resonance to the fact that so many of this constant flow of artworks can be conveyed in just a few words; Lonergan's re-vvorking parodies both the technological and artistic moment for a shared investment in instantly readable messages. - Ed Halter
Image Credit: Amy Hoy and Thomas Fuchs, twistori (screengrab), 2008
http://twistori.com/
By
Ceci Moss
on Thursday, May 15th, 2008 at 3:21 pm.
Come join us for our
annual benefit tonight at
Participant, Inc. in the Lower East Side.
Honoring
Lynn Hershman Leeson (artist) and
Joshua Schachter (founder of del.icio.us)
Music by
High Places and
Men
Performance by
Shana Moulton
Participant, Inc.
253 E. Houston Street
New York, NY
7pm
$100 (VIP)
$35 (Member/General Public)
Tickets may be purchased at the door
By
Marisa Olson
on Thursday, May 15th, 2008 at 1:50 pm.
For an invention meant to help us express ourselves, language sure comes with a lot of rules. To some, this is an exciting artistic challenge, while to others this is a barrier to the full expression of an identity that may no more adhere to a culture's norms than it does to the grammar of the mother tongue that culture gave her. This quandary has led many media studies scholars to take an interest in the relationship between natural languages and computer languages, between social codes and computer codes. A new online exhibition, entitled "You Own Me Now Until You Forget About Me," traces these issues and adds to the grist questions about the ownership of language (from authorship to identification with a lexicon to branded alignment with various software platforms, etc) and the looming potential of languages to die. Enveloped within these issues is an aspiration to study and encourage human interaction, and to preserve the traces of these conversations. The show includes work by Karl Heinz Jeron & Valie Djordjevic; Martin Wattenberg & Marek Walczak; Codemanipulator; Jörg Piringer; carlos katastrofsky; Mary-Anne Breeze (a.k.a. mez); and Christina Goestl. Some of these contributions are classic net art pieces already experiencing the interestingly adverse effects of time on web-based media, but all of them are important contributions to this discussion of communication. Surf them for yourself and then add to the show, if you'd like. That's right! Curators CONT3XT.NET have adopted an open curatorial model that allows visitors to chime in and widen the vocabulary used "in the exploration of our language with its arbitrary systems and rules, its corresponding functions within society, as well as with its absurdities and restrictions for the individual." The show will also be installed at the Museum of Modern Art, Ljubljana from May 16th-June 22nd, 2008. - Marisa Olson
Image: Karl Heinz Jeron & Valie Djordjevic, À la recherche du temps perdu, performance in London, SPACE Gallery, 20 March 2006. Participants: CPU - Karl Heinz Jeron, Zero - Yair Wallach, One - Valie Djordjevic, Display - Elvina Flower, courtesy the artists
Link »
Reblog
Originally
from KALIBER10000
published by Ceci Moss
INTO INFINITY
Call for Participants: 'INTO INFINITY is an "open source" art and music exhibition that will be shared live and online. Not only will the pieces be open to in-the-moment manipulation by viewers, they can also be remixed and resubmitted by inspired artists for inclusion in the exhibition.'
By
Marisa Olson
on Thursday, May 15th, 2008 at 11:08 am.
Codemanipulator is a Polish artist whose work revolves entirely around code and the pleasurable binary between the latter as text versus its ability to constitute an image. He makes "coded paintings," interactive installations, and data visualizations that address such topics as architecture, urban planning, and that public space we call the internet. While these themes coalesce around physical models, the work is intended to inquire about the impacts of seemingly immaterial code on creativity and social interaction. In a broader sense, this entails a consideration of the ways in which binary models of thought have further polarized or developed, following the emergence of network culture. For his show at Krakow's Foto-Medium-Art Gallery, entitled "I am code" (open May 9-June 20, 2008), Codemanipulator will present "CodePainting, CodePoetry, CodeMovies, CodeSculpture, CodeArchitecture...CodeEverything." That is, he takes the same sequence of code and explores how different machines and systems--from web browsers to video processors--interpret it differently, manifesting in a variety of forms. Judging from the gallery's photos of the exhibition's opening, the most popular manifestation was an installation of printed tiles resembling large-scale magnetic poetry. Despite the simplicity of these shingles laid out on a table, it was the ability to interact with and manipulate the code--physically and syntactically--that made it so popular. Take this as a reminder of the ongoing importance of playing language games. - Marisa Olson
Image Credit: Codemanipulator, Codemanipulator's Toybox, 2007
Link »
Reblog
Originally
by helen
from networked_performance
at May 13, 2008 10:32 am
published by Ceci Moss
paraflows08 - festival for digital arts and cultures :: The topic of the 3rd festival for digital arts and cultures in the city of Vienna is UTOPIA.
UTOPIA: The term utopia, the non-place, derived from old Greek u-, non, and topos, place, denotes a nowhere which is untraceable and therefore projecting all longing into an unreachable beyond. Utopia is therefore an imagination which is thinkable as an idea, yet is not directly realisable. It is the great dream, concept, and vision of a world or a time with a new social, religious or technical order.
UTOPIA can be traced back to the book De Optimo Reipublicae Statu deque nova insula Utopia Libellus vere aureaus, nec minus salutaris quam festivus (Of the best state law and of the new island Utopia, truly a golden booklet, as pleasant as it is cheerful) by Thomas Morus which was first published in 1516. The text alludes to positive scenarios of technical, spatial and social constructs which have not been realised. Usually, technology plays a major role in utopian phantasms. More often than not their realistic implementation is a matter of availability of technology and very often it is especially in digital art the starting point of a work of art.
In 2008, Paraflows 08 UTOPIA will try to develop the perspective, the linguistic roots of which corresponds with last year's exhibitions. In the context of the topic UTOPIA, we want to gather concepts of a possible future, draw perspectives, dreams and prognoses, dare take a prognostic look at the future. Directly tying in with last year's festival topic UN_SPACE which dealt with non-space and impossible spaces this year we will again strive to provide a multi-layered examination involving the overwhelming architectonic and historical reality of the venue the MAK Gegenwartskunstdepot Gefechtsturm Arenbergpark.
[CONTINUED]
Reblog
Originally
by javier
from javier's drawing and poetry corner
at May 14, 2008 3:56 pm
published by Ceci Moss
By
Tyler Coburn
on Wednesday, May 14th, 2008 at 2:45 pm.
The 2008 Columbia M.F.A. Thesis Exhibition, curated by Drawing Center curator João Ribas, is one of the more unmemorable in recent years, which is not to say that there was not some evidence, among the works of the twenty-six graduating students, of rigor and sophistication, but rather that the show was resoundingly devoid of the type of flashy, ready-to-be-consumed showstoppers characteristic of past rounds. This might account, in part, for the fact that several of the artists, including Brendan Harman, Sara Stracey and Carlos Sandoval De Leon, work in interdisciplinary installation and sculptural assemblage, practices that have been subject to considerable curatorial and commercial attention in recent months and that, by nature, favor the associative and the fragmentary over totalized aesthetic forms. To claim further overarching themes to be anything but conjectural would, in a sense, miss the point of the unwieldy beast that is the thesis show. A certain expressive, narrational tendency could be observed in the work of several graduating painters, like Nate Wolf, Allison Katz and Jessica Williams, coming as a refreshing counterpoint to all of the hard-edged abstraction currently hanging about Chelsea and suggesting the rule of Dana Schutz (MFA '02) may be, as yet, ongoing. Standouts include the oversize drawings of Alyssa Pheobus, which revisit the history of American decorative arts through paper collage and technically accomplished graphite drawing; Leigh Ledare's psychologically charged photographs and videos of his mother, a ballet dancer-turned-stripper; and Oz Malul's elegant, mechanical sculptures. On the occasion of my visit, I had the pleasure of witnessing one in an ongoing series of collaborative performances staged by Georgia Sagri, today finding the petite artist alternately recording vocal loops and executing endless ambulatory loops across a carpet of fabric hides. While bearing no explicit critique of the thesis exhibition, Sagri's compulsive execution cleverly played on the way that even performance can (and, in this context, may be expected to) spin itself into commodity. - Tyler Coburn
Image Credit: Oz Malul, Shoot The Moon, 2008
Link »
Reblog
Originally
from out_4_pizza
at May 13, 2008 1:16 pm
published by Ceci Moss
Reblog
Originally
from Rhizome.org Announcements
at May 14, 2008 5:55 am
published by Ceci Moss
Call for projects:
'After The Net'
Observatori: 9th Festival Internacional de Investigacion Artistica de Valencia
6 - 29 June 2008, Valencia, Spain.
Deadline for submission >> 18 May 2008
Announcement of selected works >> 20 May 2008
Submission of works >>
http://open.kurator.org/
We are seeking existing online projects that address the theme of the exhibition 'After The Net', dealing with issues of un/openness, in/security, un/stability and systems of control. Five selected works will be displayed online as part of the exhibition and will receive a fee of 200 euros each.
[CONTINUED]
Type →
opportunity
Genre →
event,
show
Keywords →
security,
digital,
hacker,
network
Reblog
Originally
by bennett4$enate
from F.A.T.
at May 8, 2008 7:12 pm
published by Ceci Moss
Did You Know?: The default Mac OS X (I'm on version 10.4.11) screensaver picture slideshow function can read an alpha channel in a .gif file. That is to say, as the slideshow plays your images, a .gif with an alpha channel will appear to be "on top" of the previous image, and as the slideshow goes on, the .gifs will continue to "layer" on until an image of a different format is displayed, which has a default white or black background.
So what?
Take advantage of the randomizing function to create some home-made screensaver machinima art!
The animation above is a sample implementation: The NEW Office Party Screensaver from FATLAB.
In the spirit of Men of the Internet, this screensaver is a series of carefully-sliced 800×600 .gifs, sourced from the faces of the hardest working local board members, regional vice presidents, administrative assistants, and other fruitful regular-dude-generating search terms on the internet. The .gifs layer over one another to hybridize these generic gentlemen into a randomly-generated ultimate budget-balancing force of suits. Its dudes! (< -- math joke)
Click here to download a small .zip file of the .gifs. Point your screensaver to it and set your preferences like this:
And you're all set! Never not working, brought to you by the FATLAB.
Reblog
Originally
from we make money not art
published by Ceci Moss
LABoral (inside) mural by Mark Titchner. Image courtesy of LABoral
Daphne Dragona is an independent new media arts curator and organiser, based in Athens with a special interest in the game arts field. She was the Programme Curator of Gaming Realities (Medi@terra, International Art and Technology Festival) which took place in Athens in 2006, and the Associate Curator of Gameworld which was hosted in Laboral in 2007. She has been involved as an organiser or as a participant in different new media events and since 2004 she is also collaborating with the International New Media Collective Personal Cinema.
Together with Erich Berger and Laura Baigorri, Daphne curated Homo Ludens Ludens (an exhibition about play in contemporary culture and society which runs until September 22 at LABoral, Spain) and I had a couple of questions for her about her latest adventures in games and art.
[CONTINUED]
May 14, 2008
An exhibition opening next week at San Francisco's Southern Exposure gallery asks some tough questions. Namely: "What does it mean to be an American now, and why would one want to identify as such, amid the current maelstrom of international bile directed at this country? What is the point in speaking out?" Not surprisingly, this less than optimistic premise gives the show its title, "Hopeless and Otherwise," but the thirteen artists included may manage to let some of the hot air out of the balloon of gloom bobbing above this sphere of angst. They do so by resisting emotional overreactions to social injustices, and instead offering proactive glances at the given scenarios. For instance, April Banks immersed herself in the West African cacao-processing cycle, in order to expose the contradictory lifestyle fantasies and foul labor policies perpetuated by the American chocolate industry. For Mary Walling Blackburn's, This Dream, This Frequency, the artist conversed with American soldiers in Iraq, via MySpace, and wove together audio recordings of their dreams with details of the dreams of Iraq's much more ancient inhabitants, as etched into ancient Mesopotamian tablets. Broadcast throughout San Francisco, over the air waves, the piece traces the historical fantasy-life of this ancient region. Both Alison Pebworth and The Renaming Bush Street Project explore our relationship to the spaces in which we live. Pebworth creates images drawing on historical figures and events, recorded mythologies, and speculative narratives about the future of the present. In this case, her work looks at the colonization of North America and the systematic sabotaging of its natural resources. The Renaming Bush Street Project turns on a similar question of viewers' relationship to the history of their own backyard, manifesting in a survey of local inhabitants regarding the possibility of renaming a major thoroughfare. Space continues to be a site for political inquiry in the work of photographer Michael Light, whose Two Burials And A Utility Corridor Looking Northwest; Forest Lawn Hollywood Hills Cemetery, Los Angeles, CA provides an aerial perspective on the intense influence of death upon the contemporary landscape, evoking a tension between the capitalist drive to develop and the human endeavor to rest in peace. Jonathan Santos's Gettysburg Address translates Abraham Lincoln's eponymous speech into Morse code, with the last line reading, "We here highly resolved that these dead shall not have died in vain--that this nation, under God, shall have a new birth of freedom--and that government of the people, by the people, for the people, shall not perish from the earth." The installation draws an all too often overlooked parallel between war and crime, while pointing out the unfortunate perpetuity of this nation's battle drive. Mark Tribe's Port Huron Project re-presents speeches from the New Left movements of the 60s and 70s, at their original sites. For this exhibition, he shows video of a reenactment of Howard Zinn's 1971 speech on Boston Common, in which the assembled audience reacts to the temporal reverb of Zinn's statement that "we need to do something to disturb that calm, smiling, murderous president in the White House." These and other projects by Siemon Allen, BLW, Melissa Day, The Journal of Aesthetics and Protest, Nathan Lynch, and The Visible Collective seem to indicate that there is a hope for change to be found in the repetition of history. - Marisa Olson
Jonathan Santos, Gettysburg Address, 2006 - 2008
http://soex.org/Exhibit/65.html
By
Ceci Moss
on Tuesday, May 13th, 2008 at 6:30 pm.
Artist Robert Rauschenberg passed away on Monday. He was 82. Easily one of the most significant artists to come out of the twentieth century, Rauschenberg began painting in the 1940's, and eventually integrated collage, sculpture, performance, choreography, set design, and printmaking into his trailblazing practice. Throughout his career, he was continually dedicated to the concept that the artist must take on an active, participatory role in relation to the culture at large. This perspective was perhaps encouraged and strengthened while studying in the 1950's at the experimental and visionary Black Mountain College. During this period, he met John Cage and Merce Cunningham, and in 1952, the three participated in Theater Piece #1, cited by some as the first "happening" which involved the simultaneous performance of music, dance, and visual art. In 1967, he co-founded the groundbreaking organization Experiments in Art and Technology, whose mission to foster collaborations between artists and engineers served to bolster the creative application of new technologies in ways unimaginable before. To this day, the formation of Experiments in Art and Technology, along with the series of performances in 1966 from which it emerged, 9 Evenings: Theatre and Engineering, mark a major milestone in the history of art and technology. Rauschenberg's openness to experimentation- both formally and conceptually- remain one of his principal contributions to American art. - Ceci Moss
Image Credit: Robert Rauschenberg, Open Score, 1966
Reblog
Originally
by Administrator <info@harvestworks.org>
from Harvestworks RSS
at May 9, 2008 4:00 pm
published by Ceci Moss
Harvestworks is pleased to announce 2007 Artist In Residence Tres Warren's surround-sound installation
Umbra(Tent) will be presented at
the Emily Harvey Foundation on Friday May 16 at 6pm. Described by the artist as "a blurred rumination on the hypnosis of disorientation," the focus of the installation is
Untitled(How Many Bread...), a surround-sound audio piece based on a street field recordings and a series of recurring synthesizer loops that unfold through a hazy trajectory that is at once chaotic and meditative. For the presentation of this piece, Warren has constructed a hand sewn large-scale refuge resembling a tent, out of fabric and other found objects. Other sculptural and collage works will be on hand as well.
[CONTINUED]
By
Marisa Olson
on Tuesday, May 13th, 2008 at 10:59 am.
Have you ever noticed that sometimes spam emails contain the most interesting images? In an effort to encrypt their messages, thus bypassing inbox filters, many spammers will convert their text to an image format, and the pixellated camouflage of these images is very often
very beautiful. This junk mail camo finds its origin in what artist
Elizabeth Duffy calls "analog mail." She and the team at
Purgatory Pie Press sifted through their mail to collect envelopes containing security patterns, images of which they've subsequently published in a hand-made book called
Enclosure Exposure: Data Protection Patterning. The piece is the newest in PPP's "InstaBook" subscription series of DIY, folded, single-sheet books. There's something about the automation, the serialization, and the repetition of these patterns and even this book itself that make the project intriguing. The patterns are an institutionalized veil between what is and isn't meant to be seen, and like visually-encrypted spam messages, the banality of their simple, mostly monochromatic, repeated lines and overlapping patterns adds up to something much more formally interesting. - Marisa Olson
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