Allan Sekula, artist and author of such indispensable texts as "The Body and the Archive," passed away over the weekend. While Sekula's primary medium was photography, his work had no small relevance to questions that surround art and technology, and is well worth revisiting in the wake of this sad news. Among his works that have been circulating on Tumblr over the past couple of days are his 1999 work Dear Bill Gates. The work involved a photographed action in which the artist swam as close as he could to the Microsoft founder's house.
Labrynthitis by Jacob Kirkegaard is presented at Eyebeam on Friday
This week, New York is awash with sound art, led by MoMA's exhibition Soundings: A Contemporary Score (which features work by Rhizome-commissioned artist Tristan Perich). One event organized in conjunction with the MoMA exhibition looks particularly interesting: Jacob Kirkegaard's Labyrinthitis, in which the artist "sparks audible emissions within the audience's own ears" inside a "floating cube" at Eyebeam. The piece uses the listener's ear as an instrument, and it sounds like the best $11 night out we've heard of in a long time, except… it's sold out. More performances, please?
Since we're on the subject of sound art: last week the New York Times ran an article that included this passage contrasting more cerebral, "art-trained" figures in sound art with the "honk-tweet" school, described as follows:
Aligned with experimental music rather than visual art, the honk-tweeters are interested in strange beeps and buzzings for their own sakes. They craft what the sound artist, theorist and blogger Seth Kim-Cohen refers to as purely cochlear, rather than fully mindful, sound art.
In June, Mr. Kim-Cohen chided the survey at the Modern for including such work, which he described as the sonic equivalent of Op Art, a movement in painting “that does not demand (or merit) serious critical response,” as he has written.
This summary doesn't do justice to Kim-Cohen's ideas, but for the record: Op Art absolutely demands serious critical response, as does sound art that you actually have to, you know, listen to.
We take it as a good sign that the listing for Labyrinthitis includes a diagram of a cochlea. Prepare to put that organ to good use.
So without further ado, here are more selected events, exhibitions, and deadlines for the near future, all culled from Rhizome Announce.
Artist Marc Ngui recently returned to his A Thousand Plateaus drawing project, in which he visually interpretats the famous text by Gilles Deleuze and Felix Guattari. Ngui had previously only illustrated the first two chapters, but he is now working his way through the rest of the book and uploading his work to a Tumblr.
The above image is from the original series, created as an illustration of chapter 1, paragraph 6, which includes some rather key statements: "Any point of a rhizome can be connected to anything other, and must be;" and, "A rhizome ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles."
[H/T: Kenyatta Cheese]
Summer (2013). Olia Lialina. Screenshot of animation comprising individual GIF images displayed across multiple websites.
In a 2006 interview with Valeska Buehrer, artist Olia Lialina observed that her early web-based works, particularly My Boyfriend Came Back from the War, have been irrevocably changed by the accelerating speed of the internet.
Though the work is still as it was: same files, same address, links -- it is now more like a documentation of itself. Because everything else changed. First of all connection speed. I could now click through my work in one minute. Probably, I could do it even faster...if there is no delay in between phrases, no waiting for images, no Jpeg "progressive scan" loading -- the tenseness of the conversation is lost.
It wasn't that Lialina was inspired by the creative possibilities of the slow-to-load early web (she recalls being as frustrated as any user); it was that the work functioned within a specific technological context. As the context has changed, so has the experience of the work.