Carlo Zanni
Since the beginning
Works in Mars Sierra Leone

PORTFOLIO (3)
BIO
Carlo Zanni was born in La Spezia (Italy) in 1975. Since the early 2000's his practice involves the use of Internet data to create time based social consciousness experiences investigating our life. He lives far from the worldliness of the art world while showing and screening his projects in venues worldwide including: Hammer Museum, Los Angeles; New Museum, New York; Tent, Rotterdam; MAXXI, Rome; P.S.1, New York; Borusan Center, Istanbul; ACAF Space, Alexandria; PERFORMA 09, NY; ICA, London; Wood Street Galleries, Pittsburgh; Science Museum, London.
He founded "People From Mars" http://www.PeopleFromMars.org to experiment new distribution models for video art and new media projects.
http://www.zanni.org
Discussions (92) Opportunities (6) Events (52) Jobs (0)
EVENT

"Code Residue" at vertexList


Dates:
Sat Jun 11, 2005 00:00 - Mon Jun 06, 2005

vertexList -- 138 Bayard St Brooklyn NY 11222 * Tel/Fax: 646 258 3792 * email:info@vertexlist.net

----------------------www.vertexlist.net-------------------

For Immediate Press Release:

VertexList space has the pleasure to present:

JOE AMRHEIN,
MIRA FRIEDLANDER,
TAN LIN,
JOE MCKAY
and CARLO ZANNI

in a group exhibition "CODE RESIDUE", curated by Marcin Ramocki.

The exhibition will open Saturday, June 11 from 7-10 pm and continue until July 03, 2005. Live Game Boy music performance by Bit Shifter, 9 pm (free admission).

CODE RESIDUE

The last 30 years have been the most active period of deliberate code generation and propagation in our history. A child of western modernism, code has surfaced as a collective epiphany in all disciplines. The computer revolution, scientific consequences of the DNA discovery and mapping of human genome, binarisation of the social and political structures of Western society (so very well described in Baudrillard’s "Metaphysics of Code") and finally the Greenbergian compulsion to disclose the limits of various artistic media stem from the same fundamental source: focusing the mind on how content is conveyed and structured. Content itself has faded to the background as mere "information", the way an adjective still describes a noun without holding much importance.

In Le postmoderne explique aux enfants Lyotard wrote: "The postmodern artist works without rules in order to establish rules of what will be created."
This establishment of rules described by Lyotard translates into disclosure of its own "code of making" as a subject matter of the piece, defining a medium/genre/style through as little as a singular visual statement. Needless to say, the precarious contemporary cultural landscape has generated endless, nomadic, imperfect and often-simplistic codes, which have impaired heavily our ability to decode anything at all.

Codes, by definition, are meant to re-enter flesh. In most cases, codes are the matrices of mass re-production, molds of simulacra. They hold the information about how the objects of our capitalist reality are assembled. The artistic codes coexist with their material manifestation and are supposed to make us aware/critique other; "mean" codes which enslave us as consumers. Perhaps in some cases they do, but mostly they just add to our general dis-information and alienation by being flat and cryptic.

Paradoxically, the only access to understanding (and therefore controlling) code is the code itself - in its fragile, vulnerable moment of textual presence, revealing its algorithmic logic, flow and the hand of a programmer. The moment where four numbers representing coordinates and a hexadecimal symbol holding the color info become a pixel. The moment where properties of an object "war" are reset to a new variable. Another moment where a very specific combination of pairs of four letters representing amino acids add up to a new being.

So as artists, we are driven to make sculptures of computer icons, write poems in object oriented programming language, show pixels of an image and numbers behind vector curves, paint the word "modernist" the way it would look in 14 points Helvetica on Windows 98.

"Code Residue" brings together works which demystify codes by forcing them into the physical, optical and palpable realm.

Marcin Ramocki

Vertexlist is located at 138 Bayard St. in Williamsburg, Brooklyn.
Gallery hours: Fri, Sat, Sun 2-6 pm or by appointment.
For directions and information contact vertexList at 646 258 3792
email: info@vertexlist.net, or check our website www.vertexlist.net
special thanks to our sponsors:
Steven Miyao (www.kasina.com)
and Laurence Shultz


OPPORTUNITY

English to Chinese


Deadline:
Thu May 19, 2005 03:18

looking for a translation English to Chinese

sorry small fee for many pages

for a museum catalogue

cz [at] zanni.org

best,

z


OPPORTUNITY

WANTED


Deadline:
Wed May 18, 2005 02:54

WANTED

php coders and flash designers interested in working on my upcoming projects

please email: cz [at] zanni.org

thanks
z


DISCUSSION

Re: Re: Net Art Market


altarboy, the server-sculpture

http://www.zanni.org/altarboy.htm

and

http://www.zanni.org/altarboy-interview.htm

best,

z

patrick lichty wrote:

> I may or may not have replied, not because I consider it poison (which
> I
> don't), but mainly in that I don't feel it asks any questions that
> aren't out there from conceptualism.
>
> Selling ephemeral art is not new, but it remains problematic.
>
> Now, Toshio Iwai is selling New Media through game art like
> Electroplankton (GameBoy DS) which is pretty popular in Japan.
>
> Patrick Lichty
> Editor-In-Chief
> Intelligent Agent Magazine
> http://www.intelligentagent.com
> 1556 Clough Street, #28
> Bowling Green, OH 43402
> 225 288 5813
> voyd@voyd.com
>
> "It is better to die on your feet
> than to live on your knees."
>
>
> -----Original Message-----
> From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
> Of Jason Van Anden
> Sent: Thursday, April 21, 2005 8:59 AM
> To: list@rhizome.org
> Subject: RHIZOME_RAW: Net Art Market
>
> I posted a topic a while ago requesting "payment schemes for
> digital/online art, sucessful or not". I got one email back -
> privately.
>
> I have a few theories as to why this topic may be considered poison,
> but
> then again maybe it was bad timing or my choice of title. At any
> rate,
> I feel this is a vitally important issue so I am giving it another
> try:
>
> Does anyone out there know how to sell digital art? Examples would be
> appreciated. If you consider this a toxic topic - could you clue me
> in
> as to why you feel that way?
>
> Jason Van Anden
> www.smileproject.com
>
>
>
>
>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>

DISCUSSION

Time In - Last Days - Time Out NY Hacked


Hi,

TimeIn by Carlo Zanni and Yucef Merhi is on view at Gavin Brown's Enterprise at Passerby.

Only three more days to see a crazy project done hacking in Time Out New York online queries Database.. (full story: http://www.zanni.org)

and yes, they gave us a review !

best,
z

Gavin Brown's Enterprise at Passerby
436 West 15th Street
212-206-7321
Chelsea

February 25 - March 26, 2005
Gallery Hours: Wed - Sat 12:00 - 6:00PM