Tonight at 6 p.m. the Guggenheim presents a marathon symposium titled "24-Hour Program on the Concept of Time." The museum's chief curator Nancy Spector organized the event in the mold of Hans Ulrich Obrist, who has presided over similar symposia in other cities, most recently a "mini-marathon" in Beijing on New Year's Eve that lasted a measly 12 hours. Like its predecessors, the 24-Hour Program is presented in an art-world context but brings together thinkers across many disciplines. Tonight's (and tomorrow's) lineup of speakers includes Ronald Mallett, a physicist who has devoted his life to building a time machine, and Joseph LeSauteur, an expert in the psychology of circadian rhythms. Also slated to participate are Philippe Parreno, Angela Bulloch, and Liam Gillick, artists featured in the exhibition upstairs whose run will end when the symposium does. "theanyspacewhatever" is about ten artists who emerged in the 1990s, but it doesn't show any 1990s art. Instead, it comprises new installations conceived specifically for the Guggenheim's rotunda. That should give a clue about these artists' attitude toward temporality. Over their careers they have avoided producing static, stand-alone objects, which are doomed to become relics or fetishes over time, while proposing that art lies in the viewer's reception of a proposition made by the artist at a specific place and time. Obrist conceived his experimental symposia with a similar sensibility -- which makes sense, since he is of the same generation and matured in the same intellectual milieu -- but when "theanyspacewhatever" turned out to be so undemanding that it was largely written off by many as a bore, one wonders what the artists will have to say about the marathon's punishing spatial and temporal parameters -- respectively ...
Now that progress is as predictable as an automatic software update or higher resolution in a camera phone, the idea that technological advancement holds the key to a better future -- and the fear that it could be abused as a tool of world domination -- seem like quaint relics of the 1950s and '60s. Lisi Raskin's exaggeratedly ragged, hand-crafted reconstructions of military command centers evoke the thrall such spaces held over the public imagination during the Cold War even as they reinforce the contemporary viewer's distance from that feeling of awe. Over the past year, Raskin's installations on this topic have surfaced in several locations as stages of an ongoing project titled Mobile Observation. This year's incarnations began with Command and Control, an installation at the Park Avenue Armory in February, and continued with Mobile Observation (Transmitting and Receiving) Station at Bard College's Hessel Museum of Art, for which she embarked on a road trip to military sites across the United States and sent back materials to be exhibited. Mobile Observation will peak on Friday with Tipping Point, a performance at the opening of "Soft Manipulation" at Casino Luxembourg, where the resulting carnage will remain on view through the exhibition's run. Here Raskin, who works at studios in Brooklyn and Oakland, California, discusses her newest work and how it represents a change in her perception of Cold War mythology.
Remember the old Warp screensaver, which helped office geeks imagine they were whizzing through space at Star Trek speeds? Ohhh, yes you do! Miss losing yourself in soothing imaginary constellations? Artist Guthrie Lonergan revisits the whoooooosh sensation of this old favorite in his Floor Warp2, which is a never ending loop of not-so-intergalactic space, the floor. Lonergan translated Floor Warp 2 into the screensaver Floor Warp (for Mac or PC) as an exclusive edition for the Rhizome Community Campaign. So get your head out of the clouds, become a member at the Shoot level, and go Floor Warpin' today.
After attending Cory Arcangel's performance Continual Partial Awareness, in which Arcangel provided a long (and hilarious) list of his unrealized ideas, the father of one Rhizome employee commented that he needed to buy the "Best-of-YouTube tape" to catch up on all the punchlines. Have a loved one curious about all the weird and funny stuff lurking online but who may be a little intimidated? Become a member at the Seedling level today and bring them up to date with the gift of a Nasty Nets' DVDROM. A compilation of internet folklore put together by the twenty-five members of surf club nastynets.com, this DVDROM includes videos, remixes, animated gifs, and tons and tons of found and appropriated material.
Image above from Petra Cortright's folder of surfing insanity available on the Nasty Nets DVDROM!!!
IX @ DEADTECH 2008 from IX h3x3n on Vimeo.
IX knows 9 spells:
- 0N: turns computer on
- 4W4Y: restarts computer
- data_disappear: makes data disappear
- 3T3RN4L_R3TURN: makes data reappear
- 54W: cuts the operating system in half
- R881X0R: runs the rabbit virus
- M461C14NZ_H4T: catches the rabbit virus in the magician's hat
- T3H_0RD3R_0F_0RD3R: creates order + nonsense
- CH405_M4J1K: creates chaos + sense
Statement: H3X3N is a group of Computer Witches who have built an enchanted cube that casts magical spells on computers. The IX cube casts spells on Windows, Macintosh and Linux computers, hacking and hexing these operating systems. IX combines traditional stage magic tricks and irony as elements of Hacker culture to create an Interactive Installation and Software Art project.
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