Caitlin Jones
Since 2006
Works in Vancouver Canada

BIO
Jones was formerly the Director of Programming at the Bryce Wolkowitz Gallery in New York, NY. Prior to this, Jones held a combined curatorial and conservation position at the Solomon R. Guggenheim Museum. She co-curated the groundbreaking exhibition Seeing Double: Emulation in Theory and Practice and coordinated the Deutsche Guggenheim exhibition, Nam June Paik: Global Groove 2004. As a key member of the Variable Media Network, Caitlin has also been responsible for developing important tools and policy for the preservation of electronic and ephemeral artworks. Her writings on new media art presentation and preservation have appeared in a wide range of catalogs and international publications.

Landscapes in Motion




Throughout his career, English filmmaker Patrick Keiller has explored the nuances of his country's landscape. His investigations are set apart by their interest in the way the social, economic and political forces have shaped the nation's geography. One of his most famous films, London (1994), is a documentary account of the year 1992 in England's capital, as narrated by a fictional protagonist "Robinson". Keiller captures the grit and strife of London during the early 1990s, against the turbulent backdrop of declining infrastructure, IRA bombings, and longstanding Tory rule. Keiller combines static camera shots of London streets and landmarks with a poetic voice-over to create landscapes that evoke the political situation of the time. In his new installation The City of the Future (2007), currently on view at the British Film Institute on London's Southbank, Keiller marks a new phase in his exploration of England's socio-economic geography. Based on his research project "The Future of the Landscape and the Moving Image" (2007) at the Royal College of Art, The City of the Future unfolds as a multi-channel installation composed of moving images of London's late 19th century and early 20th century urban landscape collected from "actuality films," an early genre of documentary film that loosely captures footage of events and areas. Using an interactive map, visitors to the space may select a city and play films corresponding to the location. As such, the participant is made aware not only of the differences and similarities of the city's urban geography over time, but also the ever-changing social and economic realities written on the city itself. - Caitlin Jones



Image: Patrick Keiller, The City of the Future, 2007

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Ways of Seeing



Similar to photography, the 19th century invention of photogammetry was used to discern empirical truths (measurements, altitudes, etc) about objects. Given his interest in the elusive relationship between observation and knowledge, it is no surprise that prolific German artist Harun Farocki would take photogammetry as an entry point for one of his most well-known films Images of the World and The Inscription of War (1989), which explores the military's use of imaging technologies during World War II. One particularly compelling narrative in the film points to how Allied analysts, while studying aerial photographs of Nazi Germany for munitions and factories locations, failed to locate the concentration camp in Auschwitz. Farocki's most recent work, the 12-channel video installation Deep Play (2007) calls upon a range of media forms to dismantle the elaborate spectacle of televised sport- specifically the 2006 World Cup Finals between France and Italy. The piece plays with our anticipation of the "big event" of the game which was, of course, not matchpoint but rather Zinedine Zidane's infamous head butt of Guiseppe Materazzi. The installation juxtaposes numerous views of this memorable game including live feed footage of the game, 3D models of the players, statistical analysis of players' speed and positions, surveillance feeds from inside and outside Berlin's Olympic Stadium and images of the editors and analysts responsible for collating the multiple streams into a single broadcast. Deep Play asks how these multiple points of view offer a nuanced entry into the event and how our expectations can blind us to all other elements of the game. Like Farocki's other works, Deep Play elegantly leads us to a deeper understanding of the mechanisms and assumptions that underlie the way we see and how this leads to our understanding of the world. The show is ...

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Masters of Manipulation



The term "manipulation" comes to mind when discussing the vast and varied practice of artists LoVid (Tali Hinkis and Kyle Lapidus). For years now, the duo have created an impressive, diverse body of handcrafted video work, spanning from performances, installations and tapestries to sophisticated image processors. Their creative image and sound distortion is deeply informed by the work of a previous generation of video artists, not only luminaries like Nam June Paik and Steina and Woody Vasulka, but also the lesser known creators of image processors and synthesizers such as Dan Sandin (of the Sandin Image Processor) and Dave Jones. This influence is pronounced in LoVid's wearable image processor Coat of Embrace and pseudo minimalist sculptural instruments such as Sync Armonica. In their most recent work, a Turbulence Networked_Music_Review commission, Hinkis and Lapidus took a new approach to manipulation. Rather than create an elaborate machine from scratch, they transformed the physical constraints of the web and a home computer into a vehicle for distortion. More of the Same (2007) starts simply enough: a single pop up window, a photograph of the artists and their broken laptop, and a few lines of dialogue, ("What's up with this computer? Is it the browser? The connection?")- and from there multiplies exponentially with each successive pop up window. Window #1 loads one image and one audio file, window #2 multiplies the image and loads the audio twice, and on and on until your computer is simultaneously trying to load 514 audio files to sometimes cacophonic, sometimes eerily silent ends. Don't worry about your processor, the artists give thoughtful instructions to avoid any serious computer crashes. - Caitlin Jones

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Enter Vilnius




Lithuania may seem an unlikely hub of the avant-garde, but as the birthplace of Fluxus founder George Maciunas and avant-garde filmmaker Jonas Mekas, the country has an undeniable place in art history. Its capital city of Vilnius is quickly becoming an emerging location for cultural activity. Set to be Europe's 'Culture Capital 2009,' rumors of a new Guggenheim/Hermitage outpost, and the recent opening of the Jonas Mekas Visual Art Center, Vilnius seems to have 'arrived' on the growing global culture circuit. The inaugural show, 'The Avant Garde from Futurism to Fluxus' (which runs through the beginning of February) highlights the place of Vilnius in the history of the avant-garde. Mekas' impressive collection of documentation Collection of 40 Films forms the backbone of the show, and works by other key artists including Maciunas, Yoko Ono, Nam June Paik and Shigeko Kubota strengthen it. A Mekas-curated film series, which includes classics by Luis Bunuel, Marcel Duchamp, Hans Richter and Fernand Leger, is hopefully an indication of future programming. Of course, the degree of fanfare and attention this capital city is currently getting is not always a great thing, and a number of quotes from the press release (e.g. "Scott Weinkle designed the super white cube space of the Art Center-- a formidable transplant of a New York Chelsea gallery to Vilnius") hints at the more troubling trend of art world homogenization. But with the Center's mandate to promote film, video and computer based arts, let's hope that Vilnius will embody the nature and spirit of its Fluxus and avant-garde fathers. - Caitlin Jones

Jonas Mekas, Fluxus on the Hudson, 1971

Update: This post covers the opening of the Jonas Mekas Visual Art Center. It implies that Vilnius is not seen as a contemporary art hub when, in fact ...

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Bartram's Travels



"THIS world, as a glorious apartment of the boundless palace of the sovereign Creator, is furnished with an infinite variety of animated scenes, inexpressibly beautiful and pleasing, equally free to the inspection and enjoyment of all his creatures."

Thus begins 18th Century American botanist John Bartram's natural history classic (and verbosely titled), Travels Through North & South Carolina, Georgia, East & West Florida, the Cherokee Country, the Extensive Territories of the Muscogulges, or Creek Confederacy, and the Country of the Chactaws; Containing An Account of the Soil and Natural Productions of Those Regions, Together with Observations on the Manners of the Indians. Bartram not only recorded his observation and taxonomies, but also imbued them with commentary and personal mediations on American wilderness and all its inhabitants. American artist Mark Dion has long focused his work on the subject of natural history, the scientific method, and the tension between objective and subjective accounts of the natural world. In his most recent project Travels of William Bartram- Reconsidered , Dion follows the path of Bartram through Northern Florida while keeping a journal, collecting specimens (both natural and manmade), taking photographs, and recording audio and video. Like his predecessor, Dion is also publishing his travels, but in web form, allowing us to follow him on his journey in a more immediate sense. He left Bartram's Gardens in Pennsylvania on November 15th and since then has searched for Bartram's 'infinite variety of animated scenes' in the swamps of northern Florida, the bars of New Orleans, and a flea market in Charleston. Humanity is not 'other' in Dion's scientific journey. His specimens include items of botanical interest, but also images of golf carts and the fishermen who save them in a swamp. All are part of the pantheon that, for better or worse, now ...

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