There are a few cities in the world whose history is written through its architecture, and Istanbul is a sublime example. Roman hippodromes, Byzantine churches, and spectacular mosques mix with art nouveau and modern structures--conveying a dynamic and layered past and present, both spiritual and civic. Silahtaraga, an Ottoman power station dating from the 20th century, is an awesome example of civic architecture and it has recently, with the oversight of Istanbul's Bilgi University, been turned into a multi-disciplinary and multi-institutional space. Home to a massive art space, an energy museum, and a center for culture and education, Santralistanbul has been become host to a number of exhibitions and events, in collaboration with the Townhouse Gallery of Contemporary Art (Cairo), ZINC--ECM de la Friche Belle de Mai (Marseille), NOMAD (Istanbul), and SCCA (Ljubljana), santralistanbul presents Light, Illumination, Electricity an Artists in Residence program that consists of workshops, open studios, and exhibitions. Taking as its subject Light and Electricity, the projects will echo the transformation of the space both architecturally and culturally. The participating artists, architects, scientists, choreographers, and musicians reflect not only the city's storied past but also its continuing relevance as a major center for art and culture.
The longest-running documentary film festival in the US, the Margaret Mead Video and Film Festival opens this Friday in New York City. As its namesake evokes, this fest highlights anthropological, sociological, and political films, casting a wide net to present films that critically engage a broad range of global cultures and themes. A number of screenings and discussions are closely aligned with new media art concerns and threads. The panel The Machine is Us/ing Us: User Generated Content, moderated by Michael Wesch, assistant professor of cultural anthropology at Kansas State University tackles Web 2.0 from an anthropological perspective with the participation of the head of YouTube's film department as well as key administrators from other user-driven sites. The screening of Rani Singh's The Old, Weird America: Harry Smith's Anthology of American Folk Music presented by Jonas Mekas and Anthology Film Archive looks at the remarkable contributions of American avant-garde filmmaker and musicologist Harry Smith (many of his Early Abstraction films can be previewed on YouTube) and Eyebeam co-presents the premier of Jaqueline Goss's new work Stranger Comes to Town which appropriates animation from the Department of Homeland Security, World of Warcraft, and Google Earth. Often caught up in the insular art world, events such as the Margaret Mead Video and Film Festival not only exposes us to new trends in documentary film, but also allows us to view issues so central to new media art in much broader cultural contexts.
If you've ever looked for performance videos by Bruce Nauman on YouTube you know that they've all been taken down due to copyright infringement. What has taken their place, however, are copious 'versions' of Nauman's performances, enacted and filmed by fans and followers. This is emblematic of recent interest in the idea of 'reenactment,' and in particular the restaging of key performance art works from the 1960s and 70s. In both 2005 and 2007, the performance art biennial PERFORMA's programs have included more than one of these takes on the 'classics.' In 2005 Marina Abramovic restaged Vito Acconci, Joseph Beuys, Valie Export, and others in her series 'Seven Easy Pieces,' and DJ Spooky reinterpreted Nam June Paik and Charlotte Moorman's 'TV Cello.' This year, 18 Happenings in 6 Parts, Alan Kaprow's historically monumental event, is being restaged, and internet artists Eva & Franco Mattes (a.k.a. 010010110101101.org) will reenact three performances from the seventies with their avatars in Second Life. They have already restaged Chris Burden's 'Shoot,' Vito Acconci's 'Seedbed,' Valie Export's 'Tapp und Tastkino,' and the ongoing Joseph Beuys work, '7000 Oaks.' Is performance becoming more like theater, with scripts and scores to be followed by different artists in different contexts, with complex authorial attribution? And why is there such a strong impulse to reenact the past? Is this homage or simplistic repetition? Perhaps these reperformances are a viable and creative means to preserve an art form that has no material presence, and like oral histories, they can be passed down through generations of artists--giving us a rare glimpse of what came before.
Electra, the brainchild of Lina Dzuverovic and Anne Hilde Neset, has for the past four years commissioned, exhibited, and found institutional support for contemporary art in the UK. Although they focus on the intersection of contemporary mediums, music and sonic art form the backbone of their productive efforts. Christian Marclay, Tony Oursler, and Kim Gordon are only a few of the artists they've worked with and the Her Noise curatorial project has traveled widely and been critically lauded. In celebration of the 25th anniversary of the magazine The Wire (of which Neset is now a Deputy Editor) the two are teaming up again for a series of performances, film screenings, and new commissions. Infamous performer Lydia Lunch will premiere (in the UK) her autobiographical 'Video Hysteries;' a series of short films from the LUX archives forms a history lesson on the longstanding relationship between avant garde music and film; and Christian Marclay will perform his music/video/performance piece 'Screen Play.' By bringing fully-formed exhibitions and programs to the table, Electra addresses head-on lingering institutional reticence to get involved with sound art and the simultaneous prevalence of it. Performances run throughout London from October 26th-November 22nd 2007.
Beck has been commissioning artists to create his music videos for years and legendary music video director Michel Gondry just had a gallery show in New York City. These are just two instances the are evidence of the blurring between what we think of as video art and the art of the music video. This trend (if we can call it that) is the subject of Playback, an exhibition at the Musee d'Art moderne de la Ville de Paris. With a large roster and multiple venues, the show illustrates the history and diversity of the art/music video genre. Works by Andy Warhol, Laurie Anderson, and Rodney Graham sit alongside newer works by Michael Bell-Smith, Paper Rad, and YOUNG-HAE CHANG HEAVY INDUSTRIES. With numerous screenings throughout the city, the best place for those not in Paris to see the show is on the Playback myspace page, which links to a number of videos in the show. Notable highlights include Jill Miller's I am Making art Too, a witty, playful, and pointed update of John Baldessari's I am Making Art, and art world darlings Los Super Elegantes' telenovela Dieciseis/Sixteen, directed by Miguel Calderon. In a time when most video art has become multi-screen installation, Playback makes a strong case that single channel video, in the form of the music video, is alive and well, with an audience and a distribution network to rival single channel video's heyday.
Job Title: Exhibitions Curator
Position Type: Full-time contract, 35 hours/week
Location: Vancouver, British Columbia
Years Experience: 3+
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.
The Western Front is one of Canada’s pioneering artist-run centres and produces and presents works in five programs: Exhibitions, Performance Art, New Music, Media Arts, and FRONT Magazine. The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.
The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.
The Exhibitions Curator reports to the Executive Director, and is responsible for:
• Developing and communicating a dynamic vision for the Exhibitions Program
• Curating exhibitions and all associated programming
• Editing publications
• Writing grants and seeking opportunities for additional funding or support
• Supervising one part-time staff member, contract workers, as well as volunteers
• Exemplary knowledge and understanding of contemporary art practices
• Excellent written and verbal communication skills
• Proven financial management experience
• Strong organizational skills
• Ability to provide direction and work with a diverse staff
• High capacity to meet deadlines and work under pressure
• Knowledge of a broad range of issues related to the arts
• A clear understanding of the philosophy and history of the Canadian artist-run centre movement
• Knowledge of the principle funding agencies and prior grant writing experience
• Knowledge of managing publications and print projects
• Experience installing a variety of art exhibitions
• Mac OS, Microsoft Office, electronic mail and Filemaker Pro, an asset
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.
A part-time Exhibitions Assistant supports this position. Provisions are also made within the program budget for research-based travel.
HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.
Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on December 14, 2009.
Please send applications by email only to:
Exhibitions Curator Hiring Committee
Western Front Society
303 East 8th Avenue
Vancouver, BC V5T 1S1
NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.
Therefore, not a distraction at all. I think it's a good barometer of where many of the artists (that I see in Chicago, Brussels, San Fran, and elsewhere) are pointing their vector of effort. To me, this shows me what is being "seen as important", when only 40 years ago, media art was still in a mode of challenging the galley and the object itself. This is a major shift...
While I agree with you Patrick that artists are directing efforts towards marketability, I certainly don't see it as a major shift. I think many Internet Artists who are gearing a part of their practice towards the institution/gallery setting, still create work that disrupts and challenges that system. And, I'm sorry, maybe my perspective as the one time programing director for a chelsea gallery that played a role in bringing some first generation net artists into the commercial sphere, but I just don't see this as a problem. I certainly see it as a trend to follow with interest, but don't see it as a whole hearted conversion to 'art world traditionalism.'
First off. Yes. the ongoing snark/sarcasm/animosity between tom, tim and mriver is super/totally/unbelievably "boring."
Secondly. And this is somewhat off topic on this particular string, but I think this entire net.art 1.0 v. net.art 2.0 conversation is, while not exactly boring, maybe a red herring. To be very simplistic about it, I don't really perceive much theoretical distance between the work of 'the old guard' and the work of the current "3rd generation" net artists. I think both were/are responding to the web as it existed at the time. In the late 1990s people wrote their own html, they 'view(ed) source,' and things were for the most part text based. And the art of the time responded accordingly, creating work about language, translation and disrupting the emerging systems that the general public was so quick to accept unconditionally.
Now, the web has obviously evolved into the web 2.0 (and all that comes with it). You don't need to code to be an internet artist because no one really needs to code to use the web anymore. You just need a myspace or facebook page, access to youtube or flickr, or a blogger address and you are 'actively' participating in the web (obviously a lot of people have written about the deeper implications of this type of migration - notably Olia in her Vernacular Web 2) http://www.contemporary-home-computing.org/vernacular-web-2/). So if internet artists are now making work that is a collection of links, a series of other people's youtube videos? Fantastic. As far as I can tell most of this work is doing so as a means to question the ease with which we are living our most intimate moments online.
The web is a different place, and so obviously the art that comes out of it is going to be different. But I think, at its very core, it is the same. Internet Art responds to the web, its development, and how we use it, regardless of whether it was made by MTAA or Guthrie Lonergan. Like I said, very simplistic, and not a fully formed argument at this point, but I think looking at why this work is so different is far less interesting than exploring its shared characteristics.
ps. This is just an aside. All the muttering about the 'newer generation' of Internet artists having more gallery success is also a bit of a distraction. I guarantee that Vuk, Olia, Thomson and Craighead alone have sold/exhibited more work in the past three years than all of the newer generation put together.