Lindsay Howard
lindsayahoward@gmail.com
Works in Brooklyn, New York United States of America


Artist Profile: Heather Phillipson


The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.

Heather Phillipson, immediately and for a short time balloons weapons too-tight clothing worries of all kinds (2014). Image courtesy the artist and Bunker259.

When I saw your recent solo exhibition, immediately and for a short time balloons weapons too-tight clothing worries of all kinds, at Bunker259, I curled up in an inflatable birthing pool to watch a video suspended from an engine hoist. The video depicted a series of domestic, public, and online spaces, with a voiceover from you. At one point, you leaned over the camera and appeared to give me a facial. I broke down in laughter because it suddenly became clear that I had become a participant. When you show Zero-Point Garbage Matte, you use a similar strategy: the viewer climbs up a ladder and looks down on the monitor to view the video, a position that is reflected in its content. Which idea comes first, the video or the physical participation of the viewer?

The video usually precedes its final sculptural form, but not always. With the video suite I'm working on at the moment, for example, I have a really clear idea of what will be going on around it. Regardless, I produce multiple "versions" of each installation, so the video ends up inhabiting quite different physical structures at different times. It's like a built-in contrariness mechanism—the capacity to change the context, and therefore the work, and my mind. But, in general, the one constant is how the viewer is con/figured in relation to the video. So, with immediately and for a short time balloons weapons too-tight clothing worries of all kinds, as you mention, the viewer is recumbent with the video overhead. The video deploys regular POV shots alongside dispassionate observations, and mixes interior monologue with direct address, so there are these shifting perspectives. You're the eye/I of the camera, or its eye is turned on you…positions get conflated. For me, the physical relationship between body and screen is crucial to this formulation, although the rationale might only be revealed sporadically. It's a bastardised literary device, that semblance of inhabitation and activation—one minute you're in first person then second person or third person, then slapped back into first.


Artist Profile: Michael Manning


Animated GIF via dump.fm

LH: For as long as I've been familiar with your work—starting on dump.fm in 2010—you've been incredibly prolific. Back then, you were creating and sharing abstract animated GIFs. I remember you would post hundreds of variations on a single shape. I see that kind of preoccupation, or obsession, come up again and again in your work, with the Phone Arts series, the Microsoft Store Paintings, and most recently, the Sheryl Crow Pandora Paintings. These expansive projects create a sense of repetition, ultimately a smooth rhythm, which appears to be so continuous as to not have a beginning or an end. Can you describe the process for coming up with these projects? How do you distinguish the individual pieces?

MM: I don't like to take any single piece too seriously, I want to work on something without the pressure of it being perfect. I think people discount producing a lot of work because they connect it to feed culture like it's more important to produce massive amounts of content for tumblr or instagram or w/e but that's not really what I'm trying to do. I think it's more interesting to like shit out a bunch of work in a natural way whether it's through a rhythm that you just stumble upon or if you see a jpeg on dump and you're like "loloolllollll pssssssh what in the even fuck ommmmmg" so you have to like rework it 50 times because you're obsessed with it, and then step back after you make this massive body of work and say to yourself "what is all that about dude?", than if you try and distill an idea into one perfect piece you've over thought to death. When you try and make a piece fit a preconceived concept it feels like graphic design, you have the message and the content you're just trying to solve how to effectively communicate that through the work and I don't want to work like that.



Discussions (3) Opportunities (3) Events (12) Jobs (0)
EVENT

Code of Contingency


Dates:
Thu Jun 14, 2012 19:00 - Thu Jun 28, 2012

Location:
Brooklyn, New York
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.


EVENT

INDETERMINATE HIKES+ AND BASECAMP.EXE


Dates:
Fri Jun 01, 2012 16:00 - Sat Jun 02, 2012

Location:
Brooklyn, New York
United States of America

319 SCHOLES PRESENTS INDETERMINATE HIKES+ AND BASECAMP.EXE
part of Bushwick Open Studios

June 1 – June 2, 2012

Scheduled "Indeterminate Hike" tours begin at 319 Scholes:
Friday, June 1: 4pm and 7pm
Saturday, June 2: 2pm, 4pm, and 7pm



319 Scholes presents ecoarttech at Bushwick Open Studios for a wilderness excursion through Bushwick’s sublime, pristine industrial landscape. The journey begins at the basecamp.exe installation at 319 Scholes to prepare for an Indeterminate Hike through urban wilds. With their new Indeterminate Hikes+ app, ecoarttech will be leading impromptu hikes throughout the weekend, departing from the gallery, as well as a series of scheduled hikes.

Indeterminate Hikes+ is a mobile phone app that transforms everyday landscapes into sites of bio-cultural diversity and wild happenings, and the basecamp.exe installation psychically prepares hikers for IH+ wilderness excursions. Most of us use our smartphones as instruments of rapid communication and consumerism. IH+ re-appropriates this technology as a tool of environmental imagination and meditative wonder, renewing awareness of the places we inhabit and slowing us down at the same time. The app imports the experience of wilderness into virtually any place accessible by Google Maps, encouraging its participants to treat these locales as spaces worthy of the attention usually accorded only to nature, such as canyons and waterfalls. Visit the IH+ website to learn more and view the latest hiking trails pioneered by IH+ hikers.

Participating artists: ecoarttech (Leila Nadir and Cary Peppermint)

Leila Nadir and Cary Peppermint founded ecoarttech in 2005 to explore environmental issues and convergent media from an interdisciplinary perspective. Their collaborative explores what it means to be a modern ecological being amidst networked environments, including biological systems, global cultural exchanges, international commerce, industrial grids, digital networks, and the world wide web. Merging primitive with emergent technologies, they investigate the overlapping terrain between “nature,” built environments, mobility, and electronic spaces. Their recent work includes commissions for the Whitney Museum, Turbulence.org, and University of North Texas and exhibitions/performances at MIT Media Lab, Banff New Media Institute, European Media Art Festival, Exit Art Gallery, and Neuberger Museum of Art.

For additional information and image requests, contact: info@319scholes.org.


EVENT

319 Scholes presents E-Vapor-8 curated by Francesca Gavin


Dates:
Sat May 05, 2012 19:00 - Fri May 18, 2012

Location:
Brooklyn, New York
United States of America

“I would only believe in a God that knows how to dance.” – Thus Spoke Zarathustra, Friedrich Nietzsche, 1885

“E-Vapor-8″, titled after a 1992 track by the rave band Altern 8, explores the influence and relationship between contemporary art and rave and electronic music culture. Here everything can be taken from ‘the archive’ and reworked – the surface glare of squeaky voice, the speed of imagery and sound, infantalist fashion, smiley faces, pirate radio, fractal imagery, hyper color fluorescents, sample-style editing processes, found footage of dancing and parties, Spiral Tribe’s politicization, and kiddie-rave pop songs. There are more serious ideas behind the visual and aural melting pot. Ideas around community, technology, intellectual and physical freedom, rebellion and myth-making all play into this wave of contemporary work.

Rave is now positioned, aesthetically and aurally, as a proto universe for contemporary, technology-infused art. House and rave provided some of the first examples of defunct technologies being co-opted and reused by a younger generation for creative purposes. Computer-made graphics once used as rave visuals are now considered precursors to online experimentation. The processes of cut and paste, sampling and looping that were the basis of DIY electronic music are echoed in video editing techniques and online footage amalgams. Early house and rave culture provided a model of democratization of culture, just as contemporary visual artists consider their use of the internet now. The hedonistic drug references of the period are gone. The moment of mass cultural upheaval has passed. We are left with a sense of DIY utopia and the desire to create work that is immediate, sensorial, and at times simply fun.

Participating artists include: Fatima Al Qadiri, Cory Arcangel and Frankie Martin, Rhys Coren, Petra Cortright, Jeremy Deller, Aleksandra Domanovic, Cecile B Evans, Jeffrey Gibson, Alexandra Gorczynski, Leslie Kulesh, Samuel Levack and Jennifer Lewandowski, Marisa Olson, Hannah Perry, Christian J. Petersen (Dumb Eyes), Travess Smalley, Lucy Stokton, and Daniel Swan.

Francesca Gavin is a writer, editor and curator based in London. She is the Visual Arts Editor of Dazed & Confused, the art editor of Twin and a Contributing Editor at AnOther and Sleek Magazine. Her books ‘100 New Artists’, ‘Creative Space’, ‘Hell Bound: New Gothic Art’ and ‘Street Renegades’ are all published by Laurence King. She has curated international exhibitions including ‘Responsive Eyes’ (Jacob’s Island, London 2012) ‘The New Psychdelica’ (MU, Eindhoven 2011) and ‘Syncopation’ (Grimmuseum, Berlin 2010). She has written for publications including Vogue, Wallpaper*, It’s Nice That, Nylon, Bon, icon, Oyster, Blueprint, Art Review and Sunday Times Style and is the curator of the Soho House group.


EVENT

C.R.E.A.M. curated by Lindsay Howard


Dates:
Sun Apr 01, 2012 00:01 - Mon Apr 30, 2012

C.R.E.A.M. showcases the work of artists who are politically engaged in open source art & technology while using their creative practice to address issues related to the monetization of net-based work. The pieces subvert existing models, create new ones, and draw inspiration from e-commerce, software piracy, crowdfunding, computer viruses, and various approaches to digital rights management.

ARTISTS:
JODI
Greg Leuch (Live Artist Talk April 24th 4pm PST)
Aram Bartholl
Lucy Chenin & Emilie Gervais
Kim Asendorf & Ole Fach
David Horvitz (Live Artist Talk April 24th time TBD)
0-Day Art

SPECIAL EVENT:
Wednesday April 11th, 2012 7:00pm EST
Eyebeam Art + Technology Center (New York, NY) or Online

Join curator Lindsay Howard and 0-Day art, a warez group focused primarily on the acquisition and distribution of net art, as they talk about ideas behind monetization and limiting access to art work on the internet.


EVENT

319 Scholes presents Big Reality curated by Brian Droitcour


Dates:
Thu Mar 15, 2012 19:00 - Thu Mar 29, 2012

Location:
Brooklyn, New York
United States of America

319 SCHOLES PRESENTS BIG REALITY
Curated by Brian Droitcour


March 15 – 29, 2012
Opening: Thursday March 15, 7:00 p.m. – 10:00 p.m.
Gallery hours: Thursday – Sunday, 2:00pm – 6:00pm and by appointment

“Big Reality” proposes that contemporary everyday life seamlessly integrates elements of fantasy and play through consumer technology and networked media. The exhibition explores this proposition through artworks that draw imagery, themes, and devices from a relatively young and heavily stereotyped genre of play: the fantasy role-playing game. Born in the early seventies, when Dave Arneson and Gary Gygax hacked the rules of historical war simulations to make room for individual heroics and magic spells, the RPG blends game and narrative, systems and storytelling. It brought romance and adventure to models of numerical cognition, which appealed to players familiar with nascent computing culture. “From Nethack to play-by-post forums on the WWW,” an Ars Technica blogger wrote in 2009, “the first thing that computer geeks do upon inventing a new medium is play Dungeons and Dragons with it.” Whether played with dice and pencils, costumes and props, or a videogame console, the RPG codes a particular, specifically contemporary relation of the self of the world, one in which technology and abstraction, fantasy and play are deeply implicated in the routines of everyday life.

Fluxus and Oulipou captured the spirit of a freshly cybernetic world in works that incorporated chance, systems, open-endedness and open relations between author and audience. Gygax and Arneson gave the same spirit a popular form. With a few exceptions, the works in “Big Reality” are not games. Rather, they crystallize in a variety of mediums the expansive attitude toward life that play and imagination afford. The exhibition’s artists grew up in a world with RPGs, in a time when concepts of “virtuality” and “real life” were necessarily disrupted as everyday modes of communicating and receiving information about the world rapidly changed. For them, fantasy is not an escape but one of many facets of an increasingly big reality.

With work by: Arcanebolt (Mark Beasley, Taras Kemenczy, Alex Iglizian), Bradley Benedetti, BFFA3AE, Laura Brothers, John Bruneau, The Center for Tactical Magic, Jacob Ciocci, Brody Condon, Chris Coy, Julia Ellingboe, Desiree Holman, Timothy Hutchings, Butt Johnson, Daniel Leyva, Guthrie Lonergan, Nick Montfort, Shana Moulton, Brenna Murphy, Oregon Painting Society, Robby Rackleff, Billy Rennekamp, Deb Sokolow, Eddo Stern, Third Faction, John Tynes, Andrej Ujhazy, and David Wightman.

http://www.facebook.com/events/177626115685910


The “Big Reality” exhibition catalogue includes texts by Brian Droitcour, Tavis Allison, Joanne McNeill and Kristin Lucas (in conversation), Gene McHugh, as well as artists’ texts by The Center of Tactical Magic, Nick Montfort, John Bruneau, and Andrej Ujhazy. It will be available for sale on Lulu.com starting March 12 and at 319 Scholes during the run of the exhibition.

For additional information and image requests, contact: info@319scholes.org.