Alexei Shulgin's pioneering works in internet art are collected on his site easylife.org, but many of the links there are empty or obsolete; one called Insanity Notification sends visitors to a site indicating that Shulgin went insane at an unidentified point in the past. It has been more than five years since Shulgin left the online environment to focus on the production of tangible, marketable objects. His collaboration with Aristarkh Chernyshev began in 2003, and two years later the artists founded Electroboutique a gallery-slash-gadget shop selling distorting screens and other high-tech toys. Shulgin and Chernyshev called it "Media Art 2.0," and wrote a manifesto saying the plug-and-play nature of their new work liberated them from a "media art ghetto," adding that their manipulation of familiar screen-based interfaces contained a nugget of criticality. Their work was recently featured in "Criti Pop", an exhibition at the Moscow Museum of Modern Art (along with interactive installations that Chernyshev made in collaboration with Vladislav Efimov). - Brian Droitcour
This past Sunday the New York Times Magazine profiled Lewis Hyde, a writer and poet whose 1983 book The Gift described the value of art and literature in a market system as "the commerce of the creative spirit." Now a fellow Harvard's Berkman Center for Internet and Society, Hyde is at work on a book that attempts to define how the market of cultural property should be regulated. Excerpts below, see link at the bottom for the full article.
In the late 1990s, Hyde began extending his lifelong project of examining "the public life of the imagination" into what had become newly topical territory: the "cultural commons." The advent of Internet file-sharing services like Napster and Gnutella sparked urgent debates over how to strike a balance between public and private claims to creative work. For more than a decade, the so-called Copy Left -- a diverse group of lawyers, activists, artists and intellectuals -- has argued that new digital technologies are responsible for an unprecedented wave of innovation and that excessive legal restrictions should not be placed on, say, music remixes, image mashups or "read-write" sites like Wikipedia, where users create their own content. The Copy Left, or the "free culture movement," as it is sometimes known, has articulated this position in part by drawing on the tradition of the medieval agricultural commons, the collective right of villagers, vassals and serfs -- "commoners" -- to make use of a plot of land. This analogy is also central to Hyde's book in progress, which looks closely at how the tradition of the commons was transformed once it was brought from Europe to America.
Hyde posits that the history of the commons and of the creative self are, in fact, twin histories. "The citizen called into being by a republic of freehold farms," he ...
Moscow artist Olga Chernysheva seeks out moments of awkwardness and discomfort that arise when reality falls short of the imagination. Whether working with oils or watercolors, analog photography or digital video, Chernysheva uses a plain, unaffected style, deliberately constructing her compositions to be as inconspicuous as she is when fixing her voyeuristic gaze. Tonight at 7:00 p.m. she will present a screening of video works at the Museum of Modern Art. Rhizome Curatorial Fellow Brian Droitcour met with Chernysheva in her Moscow studio.
There's a park in the north of Moscow called VVTs, or All-Russia Exhibition Center, but Muscovites persist in referring to it by its old name, VDNKh, the Exhibition of the People's Economic Achievements. Neither name is a good fit. The old one sounds clumsy and communist. The new one seems too ambitious, since most commercial fairs prefer newer, centrally located facilities to VDNKh's whimsical and ill-equipped pavilions, which were built in the 1930s to showcase products of the Soviet republics or economic sectors whose names they still bear. Today most of them are improvised stores, with plastic banners stretched over marble and gilded facades to advertise the inexpensive goods for sale inside, such as furniture, seeds, radio parts, and honey. As a metaphor for the collision between a Soviet "bright future" and the present's imperfections, VDNKH seems almost too pat to exist. But this juxtaposition is alive in the experience of the thousands of shoppers and strollers who congregate there every day.
Olga Chernysheva usually looks for material in her neighborhood, and at the VDNKh, just a few kilometers north along a major Moscow thoroughfare, which has provided her with inspiration on many occasions ...
United States of America
The Abrons Arts Center of Henry Street Settlement is proud to present DECENTER: An Exhibition on the Centenary of the 1913 Armory Show, curated by Andrianna Campbell and Daniel S. Palmer. Opening February 17, 2013 and on view through April 7, the exhibition celebrates the legacy of the Cubist paintings and sculptures in the historic 1913 Armory Show by featuring a group of 27 emerging and internationally recognized contemporary artists, who explore the changes in perception precipitated by our digital age and who closely parallel the Cubist vernacular of fragmentation, nonlinearity, simultaneity, and decenteredness. The show highlights the sponsorship of the 50th anniversary exhibition by the Henry Street Settlement in 1963, the occasion which announced the building of what is today known as the Abrons Arts Center located at 466 Grand Street, New York, NY, on the Lower East Side of Manhattan.
The exhibition commences on the 100th anniversary of the Armory Show, Sunday, February 17, with a 1913 Armory Show Centennial Event, which will feature panel discussions about the 1913 exhibition, as well as the theme of perception and art in the digital age, followed by an opening reception. The show exhibits a group of artworks in the gallery, and also features digital works displayed at www.decenterarmory.com. The site launches February 17.
At the 1913 Armory Show, the Association of American Painters and Sculptors showcased the “New Spirit” of modern art. A backlash of scathing criticism showed how baffled the general American public was by the seeds of abstraction in the Cubist artworks, which quickly became a shorthand expression for the structural changes precipitated by modernity. They not only redefined artistic practice, but also altered our understanding of the process through which we perceive the world. On its 100th anniversary, we will celebrate the Armory Show by posing the question: What is the legacy of Cubism in the hundred years since the Armory Show’s radical display of modern art, and especially, how has this become relevant today?
Accordingly, this exhibition celebrates the centenary of the groundbreaking Armory Show by assembling artworks that analyze the digital revolution and the ways it has affected our perception of the world. Artists as varied as Sara VanDerBeek, Gabriel Orozco, Liz Magic Laser, and Abrons AIRspace residency program alumna Amy Feldman evoke the formal innovations of the historic avant-garde but differ through an embrace or flirtation with digital mediation. Artists today like Andrew Kuo, Tony Cokes, and Cory Arcangel are inspired by the inter-cultural circulation of images, ideas, and data in a worldwide network. While Pablo Picasso and fellow Cubists combined archaic Western forms and appropriated exotica to shatter inherited modes of representation, today ubiquitous computing and the digital image explosion create an intersection of the physical and the virtual, and in doing so, have decentered the locus of artistic praxis.
Although the far-reaching historical significance of the Armory Show was examined through a partial re-creation on its fiftieth anniversary in 1963 (sponsored by the Henry Street Settlement), even then, scholars acknowledged that the exhibition’s social import could not be replicated simply by re-staging the show. In order to honor that “New Spirit,” and the collaborative process through which the 27 members of the Association of American Painters and Sculptors organized this radical exhibit, the 2013 show will inhabit all available exhibition spaces at Abrons and also feature a corresponding online component of digital works. This web-based portion of the show, accessible at www.decenterarmory.com, will grow as artists invite others to contribute in a process that highlights the diversity and expansiveness of the 1913 show’s legacy as it relates to our world today.
This event celebrates the 1913 Armory Show, exactly 100 years after its doors opened to the public. What is the legacy of the exhibition, and how has it been understood and misinterpreted? Is there a “new aesthetic” brought about by perceptual shifts in the digital era? How do these changes align with the formal innovations of the historic avant garde? These two discussion panels, organized in conjunction with Abrons Art Center’s “Decenter: An Exhibition on the Centenary of the 1913 Armory Show,” will address the legacy of the 1913 Armory Show, and the ways that perception and artistic practice in the last hundred years has been radically transformed by our digital era.
Panel Discussion: The Legacy of the 1913 Armory Show:
Charles Haven Duncan (Collection Specialist, Archives of American Art)
Franklin Evans (Artist, New York)
Andrea Geyer (Artist, New York)
Marilyn Satin Kushner (Curator and Head, Department of Prints, Photographs, and Architectural Collections, New-York Historical Society; Co-curator of The Armory Show at 100)
Mary Murray (Curator of Modern and Contemporary Art, Munson Williams Proctor Arts Institute)
Panel Discussion: Perception and Art in the Digital Age:
Introduced by: Israel Rosenfield (City University of New York)
Ethan Greenbaum, Barbara Kasten, Andrew Kuo, Travess Smalley, Sara VanDerBeek
Moderated by: Brian Droitcour