Steve Bishop, Φ III, 2011.
Stadium is a new event and exhibition space in Chelsea. The inaugural exhibition, "Performance Anxiety," featuring four artists, Steve Bishop, Ben Schumacher, Chris Chiappa, and Timur Si-Qin, opened on November 10 and runs until December 20, 2011.
"Performance Anxiety" was curated by artist Nicolas Djandji, who tragically passed away in a bicycle accident in September. A number of his friends took the research he conducted in the last few weeks of his life and grouped in order to finalize the administrative tasks necessary to complete the show and fabricate new works by artist Steve Bishop, Ben Schumacher, and Timur Si-Qin.
The artists featured in "Performance Anxiety" all deal in their works with the consumer culture of bodily self-improvement. Using quotidian products—deodorant, mouthwash, Vitamin Water—their works show how a trip to the pharmacy can tell us something about the way we live today and our value systems. From the press release:
Here, the notion that the pursuit of athletic, hygienic, and professional perfection should be sought through the constant purchase of new products is cast into doubt. Through a series of works arresting these normally utilitarian, performance-enhancing products in sculpture, Performance Anxiety waxes upon the paradoxical, collectively shared desire of the present-day individual to become superhuman–physically fit, sexually attractive, and immaculately groomed—by way of altering the body’s chemistry and obscuring its most basic functions. Contextualizing these items as aesthetic elements rather than functional goods, each artist carves a meditative space reflecting upon the absurd modus operandi of these products.
A press release so intelligently written—that speaks specifically to the artists' works and practice while tying them in with the exhibition's theme and art historical traditions—is rare. And it seems that as a space Stadium is embarking on an ...
Production stills from Judy Radul, World Rehearsal Court, 2009.
A Thousand Eyes: Media Technology, Law and Aesthetics is an anthology published by Sternberg Press and Henie Onstad Art Center in Oslo, accompanying Judy Radul’s exhibition “World Rehearsal Court.” Radul’s work is a research project into the model of the International Criminal Court, complexly considering the effect technology and new media have had on our justice systems. Her work is a four-hour, seven-channel video installation that includes a courtroom staged and shot in a gymnasium, with a scripted text that takes the forms of vignettes, so that “you never get a whole picture” (Judy Radoul in an interview for Artforum), while including the viewers, who are filmed and projected onto screens that form part of the installation.
Edited by Radoul and Oslo-based curator and art historian Marit Paasche, A Thousand Eyes introduces a different way of discussing the idea of law and the modern justice system in a way that is different than commonplace representation of law and lawmaking in the visual arts. Whereas the form of the trial has been commonly used in artworks, performances, and symposia in the contemporary art world (I am thinking, for example, of Hila Peleg’s film documenting Anton Vidokle and Tirdad Zolghadr’s A Crime Against Art [The Madrid Trial], where the artist and curator put themselves on trial for “collusion with the bourgeoisie and other serious accusations”), the discussion of law and lawmaking in the arts has largely focused on subjects of intellectual property, artistic freedom, and censorship (for example, in Daniel McClean’s (ed.) excellent book The Trials of Art [London: Ridinghouse, 2007]). This book introduces and promotes an intricate web of ways of thinking about the relationship between visual media and the law.
In the introduction to the book ...
Performa, the Performance Art Biennial, has announced its full calendar of events for the duration of the biennial, November 1-21. The projects involved vary from commissioned theatrical pieces, film series, lectures, exhibitions, walking tours, and public actions. The full calendar of events can be seen here.
The relationship between visual art performance and digital culture is rich in possibilities, which Performa allows us to survey every two years. One of the most productive characteristics of the biennial is its focus on a link with the past and the consideration of contemporary activity within this prism. Thus, the 2009 edition focused on Futurism, and the 2011 one will focus on Russian Constructivism and Fluxus, its research themes deriving from this interest to span language, translation, the politics of speech, and the animation of modern sculpture. All of these provide context for the full, long, and impressive list of events that would happen as part of the biennial, as well as a rare space to consider contemporary practices in light of art history.
Below is a list of recommended Performa events. It was compiled from the calendar, keeping in mind the biennial's focus, but highlighting the prospects of interesting intersections between performance art, architecture, and digital culture. Details such as date, location, and price can be found on Performa's website.
Ed Atkins, Haroon Mirza, and James Richards, An Echo Button, 2011
MARKUS MIESSEN AND GUESTS
ON SPATIAL POLITICS
Berlin-based architect and writer Markus Miessen discusses the relationship between contemporary politics, architecture, and space.
SPEECH ACTS AND 3D MODELING
Artist Serkan Ozkaya researches J. L. Austin's How To Do Things With Words and 3D modeling of Michelangelo's David in this talk about language and objects.
Israeli collective Public Movement initiates a new action in ...
Sissu Tarka, Pirate Affect, 2008
The Piracy Project was initiated by AND Publishing as a result of a threat to close down the Byam Shaw Library at Central Saint Martins school of art in London, where AND is located. AND's website defines the Piracy Project as "an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction." What this means in practice is a series of suggestions to the way we interact with books, all of which are archived on the project's website, as well as distributed and exhibited by AND Publishing.
Could book piracy be considered a methodology? At a time when discussions about book piracy have proliferated mainly as a result of the rising popularity of e-readers (so often described as the publishing industry's saviors), the publishing industry found itself in a position similar to that of the music and film industries, both of which have been fighting piracy unsuccessfully for a long time. Still, somehow, book piracy always seemed a little different. True, it has its quirks, like illegal translations done from a language other than the original or chapters added in to an illegal version. But maybe book piracy seems different because in a way, we have all pirated books. We read PDFs that a university professor scanned from his or her private copy of a book, including their comments in the margins. We try to interpose open pages on Amazon and those on Google Books in order to get the information we are looking for. Somehow, it seems more acceptable; when a professor scans a few chapters from a private copy it is deemed "fair use," and thus not a copyright infringement, because it is done for educational reasons. But the habit ...
An artist living in a gallery for the duration of a show is a trope of visual art performance, which left a mark in popular culture portrayals of performance art. Even though these works emphasize considerations of the gallery space, the relationship between the artist and the audience is not always the center of the piece. In the iconic I Like America and America Likes Me, Joseph Beuys was rushed from the airport to a New York gallery in an ambulance and left in an ambulance, leaving the US without having set foot on its soil. Tracy Emin lived in a locked room in a Stockholm gallery as part of Exorcism of the Last Painting I Ever Made in 1996. The audience could only see her naked figure through fish-eye lenses embedded in the walls as she spent her days painting.
In a new project launching November 2, Berlin-based artist Gretta Louw takes this relationship two steps forward, one step back. Like Beuys, she could not be seen at the gallery, but like Emin, she will be viewed through a lens. Twenty-four hours a day for the ten day duration of the show, Louw will be in constant communication with her audience via different online platforms: Skype, Facebook, Twitter, and so forth. The project, Controlling_Connectivity, is described on Art Laboratory Berlin's site,
Controlling_Connectivity uses the pervasiveness of internet-based social networking, as well as the obligation and opportunity for constant connection with these platforms as a paradigm for a severe and systematic disruption of normal, socially accepted patterns of life and interpersonal interaction during a self-documented performance. Taking to its natural extreme the notion that new technologies are increasingly dictating our social interaction, professional life, and have a far reaching effect on many other aspects of daily life, Gretta Louw ...
I think the meaning of this article is in the conflation of Artsy and e-flux, but nevermind that. Here's the real point: I have no actual interest in criticizing e-flux for its decision to apply to run the gTLD. I'd be happy to do that if they actually win it, and once they start charting out what they'll do with it. In the meantime, my only goal in this piece is to point to some problematics and interests in these two discussions on URLs, branding, art, and money.
About democracy and the internet community: well, first of all, I'm totally unconvinced that some weird democratic taxonomy is the best we can come up with. And in the case of e-flux, I think their time/bank project is an interesting precursor to what may happen with .art. I thought the time/bank had a great chance of being successful because e-flux had a built-in community of people who are interested in alternative economies around it. Instead it's circulating as an artwork and continuous project that is more of an experiment than a real entity. Who knows if .art (which attracted attention via that same e-flux community) won't be the same.
Flux Factory is seeking proposals from game designers, technical wizards, emcees, performers, set designers, house bands, and all manner of mischief makers! We need your help to create iSpy, a live reality show meets stage show spectacle meets video game that combines game design and theater with the topsy-turvy power of networked cameras in public spaces.
The experience will revolve around players carrying networked cameras in public space, beaming images back to the gallery-turned-theater as they compete to finish absurd challenges with the audience’s help (e.g.: corralling strangers to swing at pinatas, in-store scavenger hunts, and impromptu games of Balderdash on the street). The Flux theater will be rigged with cameras and surprises too, turning everyone into unwitting players.
As an interactive and theatrical game experience, this project is not limited to the gallery. The production of iSpy will be highly collaborative, with all invited creators helping to form events open to the public during the last two weekends of April 2012. We need collaborators to make mini-games, elaborate scoreboards, 70’s game show-style sets, spectacular lighting design, and surprising interactions, and we need house bands, emcees, actors, technical crew, facilitators, and much more to make it happen.