kanarinka akanarinak
Since the beginning
kanarinka@ikatun.com
Works in Waltham, Massachusetts United States of America

PORTFOLIO (2)
BIO
kanarinka, a.k.a. Catherine D’Ignazio, is an artist and educator. Her artwork is participatory and distributed – a single project might take place online, in the street and in a gallery, and involve multiple audiences participating in different ways for different reasons. Her practice is collaborative even when she says it’s not. Her artwork has been exhibited at the ICA Boston, Eyebeam, MASSMoCA, and the Western Front among other locations.

www.kanarinka.com
Discussions (67) Opportunities (7) Events (11) Jobs (0)
DISCUSSION

Re: what if and tid bits i cry to much


>>>
Your emphasis on beauty and aesthetics, not to mention the emphasis on
inhibited creative energy is, in my opinion, an obsolete perspective.
It produces artefacts as redundant to the contemporary world as any
painting.
>>>

Hi folks -- While I agree with some of the other statements in Kate's
message I disagree entirely with this one. While I might not call it
"beauty" i think that emphasis on balance/harmony/aesthetics in the
perception and absorption of the work by a person on the other end
(participant, audience, user) is one of the most important things about
creating art. Ignoring this is privileging the concept over the
execution, something i think that "new media/net.art/digitalia/blah" is
often guilty of because (maybe) the artists tend to be more conceptually
inclined than visually/auditorially inclined.

Just because i have a neat or original idea does not make it art. That's
what the best thing about art is -- this combination of abstract and
concrete, idea and form, etc. Art can be found somewhere between
post-modern word masturbation and meaningless eye candy.

I agree that art is tool to investigate the world but i think that it is
also intimately concerned with the outcome of that investigation -- the
form of the culminating performance of that investigation (the artwork
itself) and whether that can hold up as an aesthetically valid,
conceptually balanced performance/investigation/representation.

-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Kate Southworth
Sent: Friday, June 07, 2002 5:58 AM
To: Eryk Salvaggio; list@rhizome.org
Subject: Re: RHIZOME_RAW: what if and tid bits i cry to much

From: Eryk Salvaggio <eryk@maine.rr.com>
Reply-To: Eryk Salvaggio <eryk@maine.rr.com>
Date: Thu, 06 Jun 2002 13:46:12 -0700
To: furtherfield <info@furtherfield.org>, list@rhizome.org
Subject: Re: RHIZOME_RAW: what if and tid bits i cry to much

Hi Eryk, and List.

I believe painting to be an obsolete art form. Not merely because of
its inability to enable artists to adequately investigate the
contemporary world, but because there are too many residual notions of
creativity contained within the very concept 'painting'.
Your emphasis on beauty and aesthetics, not to mention the emphasis on
inhibited creative energy is, in my opinion, an obsolete perspective.
It produces artefacts as redundant to the contemporary world as any
painting.

Your Art 1 - artifacts created by anyone who aims for any external
expression of an idea or emotion or concept - is very very loose. By
itself it could be applied to almost anything art or not.

Art 2 - is the academic side of art, fuelled by innovative ideas fused
with innovative techniques - seems to me, a very bare essential for
art. Surely, art is, and always has been, about understanding our
contemporary world. That world changes, and art investigates. It needs
new ways to describe that world. Hence, my feelings regarding the
redundancy of painting to do the job adequately. Hence, my feelings
about the position of artists whose main frames of reference are
informed by residual ideologies.

The contemporary world seems to make sense when we relinquish the
solid. If we see the world as fluid, as a collection of interconnected,
mutually dependent units then the art that belongs to that world will
have these characteristics too. These units can be as small or large as
we like, and can be emotion, idea, concept, theory, experience etc.
They can be pulled (abstracted) from the 'whole', 'the system' in any
way we choose. The art that is connected with this understanding of
the world seems to be investigating ways in which units (rotten word,
but can't think of an appropriate other just now) relate to one another:
how units are described. If the whole set of categories that we have
used up to now are discarded as boundaries between categories dissolve,
then constructing new categories, that are meaningful yet fluid and able
to change as necessary seems to be the very stuff that net art, new
media art (whatever the term!) is engaging with right now.

best, Kate

DISCUSSION

Digital Pocket Gallery announces May Curators' Pick


The Digital Pocket Gallery and crew are pleased to announce the
curator's picks (Well, just one pick) for May 2002.

Please view the curator's selection and the rest of the gallery at:

http://www.ikatun.com/digitalpocketgallery

The Digital Pocket Gallery is now accepting submissions for June.

Cheers,
Kanarinka & the Digital Pocket Crew

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
About the curator's pick for May 2002:

Artist: Lynn Cox

Title of Work: 'TLV (Snapshot)'

Medium/Technology: Audio (MP3)

Artist Statement:

'TLV (Snapshot)' is the baby in the 'TLV Family'. It has only learnt one
route through life and must continually retrace its restricted journey
down the same branches until it can break the bonds of the tree.

A strong constituent of all of the artwork is the concepts of mapping
and journeys, which have been undertaken through a variety of techniques
including Psychogeography (i.e. the mental relationship between areas
rather than their geographic proximity). The work is illustrated by
providing isolated glimpses, snap shots or remnants, that are only
partially conceived by the participants, of events in time and space.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ABOUT THE DIGITAL POCKET GALLERY

How to Submit: http://www.ikatun.com/digitalpocketgallery/submit.htm

The digital pocket gallery effort began in March 2002.

The digital pocket gallery was inspired by the real-life Pocket Gallery
at 536 gallery in Vancouver, Canada.

Pockets contain miniature biographies and testaments to our lives and
forgotten stories. The crumpled train ticket speaks of journeys taken,
the handful of confetti in your 'best' jacket of a wedding years before
or the telephone number on the back of a matchbook given by a someone
who's name and face is long forgotten. Files and folders are the
'digital pockets' of the internet artist. The hard-drive is an
autobiography in coded form. Dreams, ideas and waste lie hidden in these
cryptically labelled pockets that have become the maps and landscapes of
our
virtual lives.

All entries that meet the submission guidelines will be included in the
exhibit. Each month the curators will select a number of works to
feature in the gallery that, in their opinion, are particularly strong
and/or original interpretations of the concept.

DISCUSSION

Call to artists - Digital Pocket Gallery - May Curator's Picks coming up


Hello All -

This is just a reminder that the Digital Pocket Gallery will announce
May Curator's picks at the beginning of June. You still have 2 days
(well, depending on your time zone) to submit your digital pocket to be
reviewed in May. Submissions to be considered for May's curator's picks
should be received by May 31st.

Cheers,

Kanarinka

http://www.ikatun.com/digitalpocketgallery

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
ABOUT THE DIGITAL POCKET GALLERY
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

The Digital Pocket Gallery: Net Artists respond to their Hard Drives...

April 1st to August 31st 2002
Submissions Deadline: July 31, 2002

Pockets contain miniature biographies and testaments to our lives and
forgotten stories. The crumpled train ticket speaks of journeys taken,
the handful of confetti in your 'best' jacket of a wedding years before
or the telephone number on the back of a matchbook given by a someone
who's name and face is long forgotten. Files and folders are the
'digital pockets' of the internet artist. The hard-drive is an
autobiography in coded form. Dreams, ideas and waste lie hidden in these
cryptically labelled pockets that have become the maps and landscapes of
our
virtual lives.

We invite you to empty your digital pockets for inspection (whether real
or fictitious) for an online exhibition at http:www.ikatun.com

Submission Guidelines

1. A representation of the structure of your
computer file system must be incorporated in some way, either by screen
shot (e.g. Windows Explorer) or artistic interpretation.
2) work can be any digital file that can be displayed on/transmitted
through the web (image to html to flash to java to etc)
3) playfulness & inventiveness of rule #1 is encouraged
4) Work must be pocket-sized - under 50K

Please send your submission to: digitalpockets@ikatun.com

Submission to be sent by July 31, 2002 please.

Artists have the option to supply one or all of the following to
accompany their submissions:

name
email
homepage url
title of work
brief artist's statement
country

All works that meet the guidelines will be included in the exhibition.

DISCUSSION

Re: TONIGHT @ The Kitchen, NYC


Could some of you NYC people PLEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEESE move
to Boston?

pretty please?

-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf
Of Christina Yang
Sent: Tuesday, May 28, 2002 2:04 PM
To: Christina@thekitchen.org
Subject: RHIZOME_RAW: TONIGHT @ The Kitchen, NYC

Please join us for Digital H@ppy Hour Looking For Art In All The Wrong
Places
May 28 [Tue] 6pm TONIGHT
Presented by Joline Blais and Jon Ippolito, authors of The Edge of Art
(forthcoming)

For the May installment of Digital H@ppy Hour, Joline Blais and Jon
Ippolito examine how the tremendous burst of Internet-enabled creativity
is reshaping the form of art. The collaborators invite audience members
to join in a lively cocktail conversation on the nature of art, the
recognition of new genres, the redefined marketplace, and the emerging
stars of these new practices in digital art. Over large scale
web-screenings, an audience of aficionados and curious look at the
influx of new media projects coming from outside the artworld, and
explore how those new projects challenge the perception of art as it has
been established by galleries, curators, and institutions.

Jon Ippolito is an artist and Assistant Curator of Media Arts at the
Guggenheim Museum.
Fiction writer Joline Blais is an Assistant Professor at Polytechnic
University where she directs the Digital Media Studies Program.

The Kitchen is located at 512 West 19th Street (between 10th and 11th
Avenues). For the box office, call 212-255-5793 ext. 11. For press
tickets of more information, call Isabelle Deconinck at 212-255-5793
ext. 14.

DISCUSSION

Incredibly Brilliant Idea for rhizome services


Hi All --

I had an idea for another service that rhizome could provide -- I hope
it's not too late to request new features (or perhaps if rhizome doesn't
want to do this maybe someone else will pick up on it). Let me know what
you think:

Rhizome Critique Groups - net.art critiques

I was thinking about how I would often welcome an art critique of my
work. I am thinking about this in terms of how critiques are conducted
in art and design schools -- critiques provide a forum for an artist to
present their work, discuss it, talk about the process of creating it,
and receive feedback from a group of peers and/or experts and mentors.
While critiques are probably not for everybody, i personally would
really like a chance to talk about my own work and review/discuss other
people's work in an open forum composed of rhizomers (who are for the
most part net artists, curators, etc. and have lots of things to say).

The list could serve this purpose but doesn't seem to naturally
gravitate towards that (people end up discussing theory, ideas,
commodification, etc instead of artwork).

Perhaps someone could create a platform or set of pages that would
facilitate this process on the rhizome site. Thoughts? Ideas? Would
others like something like this?

cheers,
kanarinka