ItSpace creates a network of pages within the social networking site MySpace. Instead of featuring people, the pages feature everyday household objects. Each page has a photo of the object, a description, and most importantly, a 1-minute piece of music composed of recordings of the object being struck and resonated in various ways. All the pages, or objects, are 'friends' with each other, so that visitors who discover one object may jump to the others by clicking on the 'friends' pictures at the bottom of each page.
DREAMCAPTCHA #006 from blackmoth on Vimeo.
Kari Altmann is a Baltimore-based artist who initiated the collaborative project Netmares and Netdreams. She agreed to do an interview ahead of the project's residency on Sunday March 15th at Capricious Space in Brooklyn as part of the program In Real Life. - Brian Droitcour
Netmares and Netdreams is going to be featured "in real life" at Capricious Space in Brooklyn. How is this going to be different from the first incarnation of Version 3.0, at Current Gallery in Baltimore? What were some of the challenges you encountered when displaying an online project in physical space?
The opportunity to do version 3.0 of the show arose very suddenly. Current gave us just two weeks to put everything together. But I knew that if we didn't accept that challenge, we might never do the show at all. It wasn't ideal, but it was also perfect luck, because it needed to happen in a space like Current while we had some momentum. We just said yes and pushed through the limitations, which is how we do a lot of things.
Some netdreamers were confronted with the question of how to present things offline for the first time, and they needed to experiment with the options. We didn't have computers for the show, which I was okay with, but we also had zero budget and very limited gear. We wanted to make it the most “real” show we could without all the resources. A lot of things ended up as prints or videos. We debated over whether or not certain pieces still functioned in the way they were presented. If someone didn’t answer an email or send their piece in time, it would affect the way everything ...
It's hard to sum up the interests and achievements of Bulat Galeyev, who died in Kazan, Russia, on January 5 at the age of 68. He was a teacher of physics and aesthetics. As a scholar, he published scientific research on synesthesia, and as an artist he staged his own theatrical performances that synthesized visuals and music. He studied and championed the work of Lev Termen, even when the theremin's inventor was nearly forgotten in his native country. Inspired by the ideas of early-twentieth century composer Alexander Scriabin, whose orchestral works are usually performed without the colored-light shows that he choreographed for them, Galeyev devoted his life to a multi-faceted study of art and sensory perception. The radical, interdisciplinary nature of his career is even more impressive when you consider that it evolved in the conservative, often stifling intellectual atmosphere of the Soviet Union.
Galeyev's base of operations was the Prometheus Institute in Kazan, a city about 450 miles east of Moscow. To gain official support and funding, Prometheus attached itself to an aviation engineering research institute, and its unique position in relationship to industry was not dissimilar from the experimental initiatives hosted by Bell Labs and Siemens in the West. Galeyev's line of inquiry was certainly not a priority for Soviet science. But when he founded Prometheus in 1962, the country was still euphoric from launching the first human into space a year earlier. The light-music concerts that Galeyev organized at Prometheus blended in with the widespread vogue for science fiction and futurism.
Thanks to Prometheus' close connections to an official research laboratory, its employees had access to equipment that ordinary citizens could never dream of. Galeyev and his team took advantage of ...
Rhizome's ArtBase has been fortunate to receive some great submissions in the last few months. Cody Trepte sent Cody on Cage on Joyce, a text generator based on a series of poems by John Cage where "JAMES JOYCE" is spelled vertically through rows of horizontal text that are as difficult to read as Finnegans Wake. Cage wanted to create a form of writing free of intention, and Trepte uses software to take that idea to its logical conclusion. Tomasz Konart submitted August, the most recent in a calendar of twelve interactive animations that use faint, obscured, or distorted photographs to evoke a feeling of loss and reflection. Roch Forowicz, a Polish artist who explores issues of surveillance, contributed documentation of his installation Panopticon, two rows of eighteen CCTV cameras submerged. As viewers pass down the central aisle, they are observed from all directions, like in the eponymous eighteenth-century prison design. Marketscape by Brooklyn-based artist Christian Marc Schmidt is data visualization of the S&P 500 stock index. It's sure to provide suspenseful viewing for months to come.
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
1) Several people have asked me about submitting videos of readings, or video works where words appear as images. The Wordworks series is mainly about writing, rather than performance, video, or other mediums. Any submission should have a core of text that people don't have to press "play" to read. I welcome the inclusion of diverse media objects in submissions as complements to text, but not as replacements of it.
2) Submissions should be able to fit in a Rhizome blog post, without requiring readers to go to another site to read it. I'm aware of the strong traditions of electronic literature, hypertext, interactive fiction, etc., where writers make use of the entire browser window, from the background color to the forward and back buttons. I read and enjoy works like that, but for Wordworks I'm looking for writing that does not exceed the format of the post. This is just an arbitrary decision that I have made in order to maintain continuity throughout the series.
Thanks for reading and responding!