Cory Arcangel: Pro Tools opens Thursday at The Whitney. Here are some interviews in advance:
I Sing the Gadget Electronic, New York Times
“There’s something inherently absurd about people sitting in front of their TVs and controlling a virtual 3-D representation of themselves bowling a ball down a lane,” he said. In modifying his games so that their characters are destined to fail, he said, he’s used advanced technology to unspectacular ends, so “all you’re left with is a repeated, infinite letdown.”
Futurism, The New Yorker
We had an Atari early on, but we never had a Nintendo. I’d watch my friends play when I went to their houses, but that’s it. I think that’s why my pieces are about watching, not interacting.”
The Joys of Obsolescence, New York magazineFor the series “Photoshop Gradient Demonstrations,”Arcangel took the titular computer files—rectangles of color, fading from one tone into the next, intended as guides for graphic artists—and ordered them made into the enormous, gallery-quality color photographs known as C-prints. You might mistake them for Ellsworth Kelly–ish paintings until you realize that the gradients are standard-issue with the software, with no inherent artistic content. “I realized that it doesn’t make sense to only use old stuff, because everything’s gonna be old at a certain point,” says Arcangel. “In twenty years, my C-prints might look tacky. In 40 years, they might be kitschy.”
Brody Condon Without Sun (Video), 2008 Found performance documentation, 15 min
Named after the classic Chris Marker video Sans Soleil, Condon’s Without Sun is a edited compilation of “found performances” of individuals on a psychedelic substance. Images and sounds from the various clips collected from the internet overlap and combine into one seamless experience, creating a 15 minute pseudo-narrative focused on the exterior surface of their "projection of self" into visionary worlds. Condon’s global players in Without Sun have recorded themselves looking at the camera this time. Taking up where Marker left off, these (inner) travelogues question memory, perception, and the effects of current participatory media and technology on culture.
Audio from Mark Fisher's Talk: "There Are Non-Times As Well As Non-Places: Reflections On Hauntology"
In the last decade, the proliferation of corporate non-places has been accompanied by the spread of cyberspace-time, or Itime, a distributed or unpunctuated temporality. It’s no coincidence that, as this unmarked time increasingly came to dominate cultural and psychic space, Derrida’s concept hauntology (re)emerged as the name for a paradoxical zeitgeist. In ‘Specters of Marx’, Derrida argued that the hauntological was characterised by “a time out of joint”, and this broken time has been expressed in cultural objects that return to a wounded or distorted version of the past in flight from a waning sense of the present. Sometimes accused of nostalgia, the most powerful examples of hauntological culture actually show that nostalgia is no longer possible. In conditions where pastiche has become normalised, the question has to be: nostalgia compared to what?
James Bridle has recently argued that “the opposite of hauntology ... [is] to demand the radically new”, but hauntology in fact operates as a kind of thwarted preservation of such demands in conditions where - for the moment at least - they cannot be met. Whereas cyberspace-time tends towards the generation of cultural moments that are as interchangeable as transnational franchise outlets, hauntology involves the staining of particular places with time - albeit a time that is out of joint. In this lecture, Fisher will explore the hauntological culture of the last few years in relation to the question of place, using examples from music (Burial, The Caretaker, Ekoplekz, Richard Skelton), film (Chris Petit, Patrick Keiller) and fiction (Alan Garner, David Peace).
Links for your weekend:
Sadly, Raquel Meyers won't be at this weekend's Blip Festival in New York (Wired reports due to passport issues), but her music videos are worth checking out. Notes from Duncan Malashock's talk at NURTUREart Gallery for the Soft Power show. Malashock explains his early computer art experiences with SuperPaint, NUDE.BAS, HyperCard, and Myst: The graphics were made with 3D software, but the interactive game itself was created using HyperCard. Imagine my encouragement when I found that out and took a look at the code for myself, since I admired the creators of the game for their ability to evoke a mood and tell a story with very few words or human characters Vincenzo Natali is set to direct William Gibson's "Neuromancer." Natali is currently working on a film based on JG Ballard's High Rise. Brody Condon's Neuromancer. Minecraft Ghibli World, a tribute to Hayao Miyazaki (Metafilter.) And Minecraft Acid Trip Shader Mod. Frieze Art Fair is coming to New York. Neon Boneyard, where Vegas lights go to die. A Brief History of Timezones I have to ask myself what I expect from painting: should it be subservient to my ideas or a queen that I have to serve? - Neo Rauch in an interview with The Art Newspaper Brazil no longer, as Julian Dibbell puts it, the "Great Southern Hope" for copyright reform. (compare and contrast with Dibbell's 2004 Wired story) Motherboard visits Babycastles (Previously on Rhizome) Bunch of great sci-fi writers list their favorite sci-fi writing. Brian Aldiss on Olaf Stapledon, William Gibson on Alfred Bester, Christopher Priest on JG Ballard, etc. Performances In Front of Sol Lewitt (via Tom Moody) Notations 21, a compendium and anthology ...
The winner of the Emdash Award 2011 is the video and performance artist Anahita Razmi , who is based in Stuttgart. Razmi's previous works have dealt with issues concerning identity and gender, employing objects with a national and cultural significance or citing the work of high-profile female artists... Razmi will present a new commission that intends to draw attention to how Tehran's skyline was recently used by protestors after the Iranian presidential election. She will use choreographer Trisha Brown's 1971 work Roof Piece, which took place on 12 different rooftops over a ten-block area in downtown New York, as its point of departure. The work will be presented as a video installation at Frieze Art Fair.
Razmi studied at Akademie für Bildende Künste, Stuttgart; Pratt Institute, New York; and Bauhaus-Universität Weimar. Selected shows and projects from 2011 include: Videonale 13, Kunstmuseum Bonn; 'Division by Zero,' Carbon12, Dubai; 'Make - Believe – Remake,' Kunstverein Friedrichshafen.
The Emdash Award allows an emerging artist based outside the UK to realise a major project at Frieze Art Fair as part of the critically acclaimed Frieze Projects programme. The award is supported by the Emdash Foundation, a private foundation with a mission to support new ideas and emerging talent across disciplines, from the arts and cultural projects to science.