Eyebeam Resurfaces: The Future of the Digital Archive
Dates:
Thu Jan 10, 2013 17:00 - Thu Jan 10, 2013
Location:
New York,
New York
United States of America
United States of America
Eyebeam Resurfaces: The Future of the Digital Archive
Curated by Lindsay Howard and Jonathan Minard
Opening Reception and Screening: Thursday January 10, 7:00pm–9:00pm
Exhibition: January 8 – January 12, 2013
**$25.00 suggested donation for the opening reception and screening. All proceeds are 100% tax-deductible and proceeds will go toward the organization’s recovery efforts.**
To make a $25 donation: http://www.brownpapertickets.com/event/307910
On October 30, 2012, Hurricane Sandy hit New York City causing a record storm surge to sweep through Eyebeam, leaving behind three and a half feet of saltwater mixed with sewage and corrosives. In a single day, the flood claimed over $250,000 worth of AV equipment, books, and computers. Among the wreckage was Eyebeam’s archive of analog and digital media, chronicling the organization’s fifteen years of experimental art and technology. Through an emergency plea on social media, Eyebeam mobilized a team of digital media conservators and volunteers from the community to stabilize and preserve these artifacts.
Eyebeam Resurfaces: The Future of the Digital Archive is an examination of this community-led recovery effort, bringing together a lineup of lectures and workshops, a documentary film screening, and an exhibition of works salvaged from the collection.
After reviewing more than 1,500 recovered DVDs, VHS cassettes, Mini DVs, and digital storage media, curators Lindsay Howard and Jonathan Minard have selected the most unexpected, exciting, and rare materials from the archive to feature in a multi-channel exhibition. These selections include work by artists, programmers, and creative technologists, made during residencies and fellowships featuring documentation of the creative process, historical footage of artists and former staff members, as well as fragments of completed artworks. These works showcase a range of mediums, from net art to interactive performance works, from immersive installations to video game art and theory – collectively marking major touchstones in Eyebeam’s history.
The exhibition celebrates the organization’s incredible history and recovery effort, while engaging in a critical conversation about long-term strategies for digital preservation, institutional memory, and disaster preparedness.
Works by Eyebeam alumni such as Cory Arcangel, Alexander Galloway, John S. Johnson, Isaac Julian, Golan Levin & Zach Lieberman, LoVid, Mariko Mori, Shirin Neshat, and Tony Oursler will be screened throughout the week.
/////Opening Reception: Thursday, January 10, 7-9pm/////
Eyebeam will host a fundraising event for its archival digitization effort, set to start early 2013. Experts from AV Preserve will present lessons learned during the volunteer-led recovery of Eyebeam's media archive damaged during the flood.
The fundraiser will also feature an exclusive preview of Jonathan Minard’s Archive, a documentary film that examines humanity’s dependence on digital memory.
Press release: http://www.eyebeam.org/events/eyebeam-resurfaces-the-future-of-the-digital-archive
For all inquiries, contact: Amna Siddiqui | amna@eyebeam.org
Curated by Lindsay Howard and Jonathan Minard
Opening Reception and Screening: Thursday January 10, 7:00pm–9:00pm
Exhibition: January 8 – January 12, 2013
**$25.00 suggested donation for the opening reception and screening. All proceeds are 100% tax-deductible and proceeds will go toward the organization’s recovery efforts.**
To make a $25 donation: http://www.brownpapertickets.com/event/307910
On October 30, 2012, Hurricane Sandy hit New York City causing a record storm surge to sweep through Eyebeam, leaving behind three and a half feet of saltwater mixed with sewage and corrosives. In a single day, the flood claimed over $250,000 worth of AV equipment, books, and computers. Among the wreckage was Eyebeam’s archive of analog and digital media, chronicling the organization’s fifteen years of experimental art and technology. Through an emergency plea on social media, Eyebeam mobilized a team of digital media conservators and volunteers from the community to stabilize and preserve these artifacts.
Eyebeam Resurfaces: The Future of the Digital Archive is an examination of this community-led recovery effort, bringing together a lineup of lectures and workshops, a documentary film screening, and an exhibition of works salvaged from the collection.
After reviewing more than 1,500 recovered DVDs, VHS cassettes, Mini DVs, and digital storage media, curators Lindsay Howard and Jonathan Minard have selected the most unexpected, exciting, and rare materials from the archive to feature in a multi-channel exhibition. These selections include work by artists, programmers, and creative technologists, made during residencies and fellowships featuring documentation of the creative process, historical footage of artists and former staff members, as well as fragments of completed artworks. These works showcase a range of mediums, from net art to interactive performance works, from immersive installations to video game art and theory – collectively marking major touchstones in Eyebeam’s history.
The exhibition celebrates the organization’s incredible history and recovery effort, while engaging in a critical conversation about long-term strategies for digital preservation, institutional memory, and disaster preparedness.
Works by Eyebeam alumni such as Cory Arcangel, Alexander Galloway, John S. Johnson, Isaac Julian, Golan Levin & Zach Lieberman, LoVid, Mariko Mori, Shirin Neshat, and Tony Oursler will be screened throughout the week.
/////Opening Reception: Thursday, January 10, 7-9pm/////
Eyebeam will host a fundraising event for its archival digitization effort, set to start early 2013. Experts from AV Preserve will present lessons learned during the volunteer-led recovery of Eyebeam's media archive damaged during the flood.
The fundraiser will also feature an exclusive preview of Jonathan Minard’s Archive, a documentary film that examines humanity’s dependence on digital memory.
Press release: http://www.eyebeam.org/events/eyebeam-resurfaces-the-future-of-the-digital-archive
For all inquiries, contact: Amna Siddiqui | amna@eyebeam.org
F.A.T GOLD: Five Years of Free Art & Technology
Dates:
Mon Nov 05, 2012 18:00 - Sat Nov 17, 2012
Location:
New York,
New York
United States of America
United States of America
Release early, often and with rap music. This is Notorious R&D."
—F.A.T. Lab
—F.A.T. Lab
Celebrating five years of thug life, pop culture, and R&D, the renegade art organization known as the Free Art & Technology Lab, or F.A.T. Lab, is going GOLD. F.A.T. GOLD, that is. From November 5–17, with the opening event on November 7 at 6pm, Eyebeam Art & Technology Center is presenting the acclaimed work of F.A.T. Lab. Organized by Lindsay Howard, Eyebeam Curatorial Fellow, the exhibition invites the public to experience and engage with the collective’s groundbreaking projects.
F.A.T. GOLD brings together an international group of twenty-five collaborators comprised of artists, hackers, engineers, musicians, and graffiti writers, many of whom have been involved with the organization as residents, fellows, or collaborators, for a week-long residency at Eyebeam. The influential group will be onsite daily during the week of November 5, participating in panels, hackathons, and collaborative pieces.
The exhibition will feature significant works from 2007 to the present, including new projects to be launched on opening night. Showcasing a comprehensive and critical selection of the group’s diverse output, the exhibition includes video, software, net art, installation, and performance. F.A.T. Lab members will also be working and hacking on new cutting-edge projects to be added to the exhibition on the fly.
F.A.T. Lab members are Mike Baca, Aram Bartholl, Magnus Eriksson, Michael Frumin, Geraldine Juárez, KATSU, Tobias Leingruber, Greg Leuch, Golan Levin, Zach Lieberman, LM4K, Kyle McDonald, Jonah Peretti, Christopher “moot” Poole, James Powderly, Evan Roth, Borna Sammak, Randy Sarafan, Becky Stern, Chris Sugrue, Addie Wagenknecht, Theo Watson, Jamie Wilkinson, Bennett Williamson, and Hennessy Youngman.
For those unable to physically attend, F.A.T. Public Access will stream live from Eyebeam throughout the week. Tune into www.gold.fffff.at/live.html for the live stream, program guide, and announcements as they become available.
Tuesday, November 6
Online: IRC Night with F.A.T. Lab
8:00pm-10:00pm
Wednesday, November 7
Opening Reception, Dress Code: GOLD
6:00pm-9:00pm
Thursday, November 8
Lunch with F.A.T. Lab
2:00pm-3:30pm
Panel: featuring Jonah Peretti, Christopher "moot" Poole, and Jamie Wilkinson, moderated by curator Lindsay Howard
7:00pm-9:00pm
Friday, November 9
Panel: Rights, Rogues, and Refugees, featuring Jace Clayton, Magnus Eriksson, Joe Karaganis, moderated by Larisa Mann
7:00pm-9:00pm
Saturday November 10
F.A.T. GOLD Farewell Party
10:00pm-6:00am
Ongoing from November 5-November 10
F.A.T. Public Access, produced by Jamie Wilkinson and Bennett Williamson
“YOUR ART!!” on Eyebeam’s Dead Drop, organized by Aram Bartholl
Sunday November 17
The exhibition closes.
RSVP on Facebook
F.A.T. GOLD exhibition webpage: www.gold.fffff.at
F.A.T. Lab website: http://fffff.at/
Eyebeam Art + Technology Center website: http://eyebeam.org/events/fat-gold
Collect the WWWorld: The Artist as Archivist in the Internet Age
Dates:
Thu Oct 18, 2012 19:00 - Mon Nov 05, 2012
Location:
Brooklyn,
New York
United States of America
United States of America
Collect the WWWorld: The Artist as Archivist in the Internet Age is an attempt to show how art responds to the information society. The last decade has witnessed an incredible growth in the production and distribution of images and cultural contents. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. The show investigates the impact of this process on art practices and on the role of the artist, who more and more evolves into a filter, a collector, an archivist, a post-producer of already existent cultural material.
Furthermore, Collect the WWWorld sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of cultural material produced by popular culture and advertising.
Collect the WWWorld is a show first produced by the Link Center for the Arts of the Information Age and already presented, in different versions, at Spazio Contemporanea, Brescia (Italy) in September 2011 and at the House of Electronic Arts Basel (Switzerland) in March 2012. The presentation at 319 Scholes will feature a number of new artists and works in a brand-new arrangement. The show relies on an ongoing research project that can be followed online at http://collectheworld.linkartcenter.eu.
The show will also include a reading area with the catalogue of the show, other books by Link Editions, artist books, texts, and catalogues that provided inspiration for the show. The exhibition will serve as the launch for Ryan Trecartin’s Ryan’s Web 1.0, a new e-book that features his W Magazine set as well as documentation of the research that went into the piece, which will be free for download in PDF format.
Participating artists include: Alterazioni Video (I), Kari Altmann (US), Gazira Babeli (I), Kevin Bewersdorf (US), Aleksandra Domanovic (D), Constant Dullaart (NL), Elisa Giardina Papa (I), Travis Hallenbeck (US), Jason Huff (US), Jodi (NL), Oliver Laric (D), Olia Lialina & Dragan Espenschied (D), Eva and Franco Mattes (I), Jon Rafman (US), Ryder Ripps (US), Evan Roth (US), Ryan Trecartin (US), Brad Troemel (US), Penelope Umbrico (US), and Clement Valla (US).
Domenico Quaranta (1978, Brescia, Italy) is an art critic and curator. He is a regular contributor to Flash Art and Artpulse. He is the editor (with M. Bittanti) of the book GameScenes: Art in the Age of Videogames (2006) and the author of Media, New Media, Postmedia (2010) and In Your Computer (2011). He has curated various exhibitions, including Holy Fire: Art of the Digital Age (Bruxelles 2008, with Y. Bernard), Playlist (Gijon 2009 and Bruxelles 2010) and Collect the WWWorld (Brescia 2011 and Basel 2012). He is a co-founder of the Link Center for the Arts of the Information Age.
Contact: Lindsay@319scholes.org
Furthermore, Collect the WWWorld sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of cultural material produced by popular culture and advertising.
Collect the WWWorld is a show first produced by the Link Center for the Arts of the Information Age and already presented, in different versions, at Spazio Contemporanea, Brescia (Italy) in September 2011 and at the House of Electronic Arts Basel (Switzerland) in March 2012. The presentation at 319 Scholes will feature a number of new artists and works in a brand-new arrangement. The show relies on an ongoing research project that can be followed online at http://collectheworld.linkartcenter.eu.
The show will also include a reading area with the catalogue of the show, other books by Link Editions, artist books, texts, and catalogues that provided inspiration for the show. The exhibition will serve as the launch for Ryan Trecartin’s Ryan’s Web 1.0, a new e-book that features his W Magazine set as well as documentation of the research that went into the piece, which will be free for download in PDF format.
Participating artists include: Alterazioni Video (I), Kari Altmann (US), Gazira Babeli (I), Kevin Bewersdorf (US), Aleksandra Domanovic (D), Constant Dullaart (NL), Elisa Giardina Papa (I), Travis Hallenbeck (US), Jason Huff (US), Jodi (NL), Oliver Laric (D), Olia Lialina & Dragan Espenschied (D), Eva and Franco Mattes (I), Jon Rafman (US), Ryder Ripps (US), Evan Roth (US), Ryan Trecartin (US), Brad Troemel (US), Penelope Umbrico (US), and Clement Valla (US).
Domenico Quaranta (1978, Brescia, Italy) is an art critic and curator. He is a regular contributor to Flash Art and Artpulse. He is the editor (with M. Bittanti) of the book GameScenes: Art in the Age of Videogames (2006) and the author of Media, New Media, Postmedia (2010) and In Your Computer (2011). He has curated various exhibitions, including Holy Fire: Art of the Digital Age (Bruxelles 2008, with Y. Bernard), Playlist (Gijon 2009 and Bruxelles 2010) and Collect the WWWorld (Brescia 2011 and Basel 2012). He is a co-founder of the Link Center for the Arts of the Information Age.
Contact: Lindsay@319scholes.org
319 Scholes: Open Call for Curatorial Proposals
Deadline:
Mon Oct 01, 2012 12:00
Location:
Brooklyn,
New York
United States of America
United States of America
319 Scholes is currently accepting proposals from artists and curators for our 2013 exhibition program. We encourage rigorous, scholarly proposals in the fields of net art, new media, interactive art, sound art, and performance. Four major group exhibitions will be selected from the applications, in addition to (2) one-weekend solo shows or events. The application deadline is October 1, 2012 with notification by October 15, 2012.
Curators will be provided a small exhibition production budget, in addition to installation and administrative support.
Details:
319 Scholes is a 3,000 sq. ft. non-profit exhibition space in Brooklyn, New York dedicated to promoting works at the intersection of art and technology.
Review process:
Apply by submitting the following information to proposals(at)319scholes.org : a brief concept (no more than 300 words) outlining the proposed exhibition or event, your CV or resume, and a potential artist list with links.
Applications will be reviewed by Greg Barton, independent curator; Brian Droitcour, writer, translator, and curator; Francesca Gavin, curator and Visuals Arts Editor, Dazed & Confused Magazine; Nicholas O’Brien, artist and independent curator; Kate Watson, artist, archivist, and independent curator; and Lindsay Howard, 319 Scholes’ curatorial director.
Questions: Lindsay(at)319scholes.org
Curators will be provided a small exhibition production budget, in addition to installation and administrative support.
Details:
319 Scholes is a 3,000 sq. ft. non-profit exhibition space in Brooklyn, New York dedicated to promoting works at the intersection of art and technology.
Review process:
Apply by submitting the following information to proposals(at)319scholes.org : a brief concept (no more than 300 words) outlining the proposed exhibition or event, your CV or resume, and a potential artist list with links.
Applications will be reviewed by Greg Barton, independent curator; Brian Droitcour, writer, translator, and curator; Francesca Gavin, curator and Visuals Arts Editor, Dazed & Confused Magazine; Nicholas O’Brien, artist and independent curator; Kate Watson, artist, archivist, and independent curator; and Lindsay Howard, 319 Scholes’ curatorial director.
Questions: Lindsay(at)319scholes.org
Code of Contingency
Dates:
Thu Jun 14, 2012 19:00 - Thu Jun 28, 2012
Location:
Brooklyn,
New York
United States of America
United States of America
“If you subtract human perception, everything moves.” – Steve Goodman, Sonic Warfare: Sound Affect and the Ecology of Fear
Code of Contingency explores whether sound, as a learning device, has the potential to open up new pedagogical frameworks. Taking its cue from the improvisational ethics of Cornelius Cardew, the dissipative systems theory of Isabelle Stengers, and the critical thinking developed by Paul Freire, the show investigates process-oriented, anti-anticipatory learning through and when people engage with sound. Here, collaboration between object and viewer, teacher and student, performer and attendees are key for developing a dialogue. As such, code does not play the role of a set of rules or parameters to guide the viewer’s interpretation, rather, it is a notational device used to make sense of knowledge production.
The works included in Code of Contingency convey cues of glitches, clicks, growls and burps. These sounds are the product of digital, analogue and biological systems that cross aesthetic boundaries, united together in choral melodies. The artists included often compose through technology, such as sonic detours through the Internet, or working with data that is sonified with live local power consumption stats. Some artists work with organic material, including experimenting with the ecology of the body, or are reacting to political scenarios where the vocal presence of opinion is essential.
To open feedback channels, the participating artists will host a series of workshops that will raise critical questions about politics, biology, microbial agency, the currency of time, circuit bending, audio ecologies and the energy that powers it all.
Participating Artists: Jamie Allen, Taeyoon Choi, Stephen Fortune, Bernhard Garnicnig, Giuliano Obici, Call & Response, and Tom Richards.
Code of Contingency is a curatorial project initiated by Lisa Baldini and Sarah Jury in September 2010. Sarah Jury is an international curator based in London. She is the director of The Pigeon Wing and editor of Arc magazine, Her writings can be found in Aspidistra, Countersituation and Flee Immediately! Lisa Baldini is an international curator based in New York. Her writings have appeared in Rhizome, PSFK and most recently Flee Immediately! She is a founding member of the MAIM Collective.
