Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Copy That!



A new copyright-related exhibition curated by Inke Arns and Francis Hunger, of Hartware MedienKunstVerein, in Dortmund (DE), has one heck of a title: "Anna Kournikova Deleted By Memeright Trusted System: Art in the Age of Intellectual Property." Then again, it sounds like a heck of a show. The first piece visitors will see when they enter the HMKV exhibition space is a video by Negativland and Tim Maloney, called Gimme the Mermaid, in which Disney's Little Mermaid character is seen shouting, "You can't use it without my permission...I'm gonna sue your ass!" The exhibit, which runs July 19-October 19 is part of a larger initiative called "Work 2.0: Copyright and Creative Work in the Digital Age," which includes a iRights.info, web-based research project exploring new labor relations emerging in this litigious era; and a September 26-28 symposium on "Creative Work and Copyright." The show features a good mix of established artists in that field as well as others from the world of fine art and media production, including Christophe Bruno, Nate Harrison, John Heartfield, Kembrew McLeod, Monochrom, Alexei Shulgin + Aristarkh Chernyshev, Cornelia Sollfrank, Stay Free, UBERMORGEN.COM + Alessandro Ludovico + Paolo Cirio, and others. The show's title is plucked from a short story by participating artist David Rice who writes of a time in the future when stars' brands are maintained by laserbeam-armed satellites who snuff out unauthorized copycats. In the story, the "real" tennis star Anna Kournikova is accidentally misrecognized as a fake and "deleted" by the system. These sorts of sci-fi narratives always provide a touchstone for public fears and fantasies about the future, particularly in relationship to technology. This exhibition emerges from a contemporary context in which the development of new technologies that make copying easier have led to unprecedentedly stringent ...

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Knitting Circles Around the War



Cat Mazza is a practitioner of what sociologist Betsy Greer has called "craftivism." She's used knitting and other needlecraft-related processes to address pertinent political issues. Her projects are particularly adept at effecting a tactical turning of the tables on issues; for instance, using hand-made (though often computer- or software-assisted) processes to address labor conditions. Her latest project is similarly successful at fighting fire with fire (or should we say "fiber"?), parodying a US government program--even using its own explicit instructions--to critique the ideas behind it. Stitch for Senate is a contemporary take on the historic practice of charitable knitting. During WWII, women and children supported the war effort by knitting clothing and protective gear for soldiers abroad. Following the US invasion of Iraq, Americans were encouraged to make similar efforts for soldiers stationed in Iraq and Aghanistan. However, as Mazza points out in a video on her site, this war is not as popular as WWII, consequently neither is the knitting initiative. On the fourth anniversary of the invasion, in order to spur more thought and dialogue about the war, Mazza launched Stitch for Senate which encourages users to download patterns and knit helmet liners not for combat troops but for every member of the US Senate (the legislative body that votes to declare war), giving them the responsibility of distributing the fuzzy armaments. Meanwhile, the website is a space for documentation of these efforts as well as posts by users about war-related discussions and acts of charity, patriotism, and activism within radius of their own local knitting circles. A few helmet liners won't unravel the war, but as with craft groups before them, projects like these do provide a safe platform for approaching (or stabbing a needle into) bigger issues. - Marisa Olson


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Repeating Residual Histories



In their 2005 project With Respect to Residue, the Raqs Media Collective printed a theory of residues on disposable placemats, which were then distributed to various restaurants. Defining residue as, "that which never finds its way into the manifest narrative of how something (an object, a person, a state, or a state of being) is produced, or comes into existence," the placemats demanded that diners consider why and how "residues" were left out of history, as they themselves consumed. Raqs Media Collective's latest endeavor, co-curated as a portion of the nomadic biennial Manifesta 7, resides much in the same vein. From July 19th-November 2nd, they will be presenting an exhibition entitled "The Rest of Now" which includes many net art pioneers as well as other artists and non-explicitly artist-practitioners in addressing historic residues in the present tense. Set in an abandoned aluminum factory in Bolzano, Italy, the show works "to see what can be salvaged from the oblivion to which the residues of Modernism are normally consigned." In other words, both the site of the show and the works presented explore the ideas, qualities, and realities that have been swept under the rug in the process of European industrialization. The layers of self-reflexivity are piled high, here. The curators acknowledge that Europe is known for hosting many art spaces sited within old industrial spaces and their show works to juxtapose "remembered industrial energy and a more current melancholia of abandonment" to explore what the cultural embrace (or even coddling) of these spaces means. Their suggestion is that it is "symptomatic of Europe's unwillingness to come to terms with aspects of its own difficult path into, and through, the 20th century." So, in a sense, this show will work to retrace these footsteps of so-called progress, with the almost ...

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When Sound Freezes Over


The relationship between sound and image has long entertained comparative theorists and geeks in both literary and music circles. Of course, this relationship keeps evolving with new technologies, and couplings between audio and the visual continue to grow, particularly in the context of live performances. But how do these two dyads manifest themselves in still forms? This is the question raised by "Frozen," an exhibition organized by Norwegian artist and curator Marius Watz, who has led the field of generative art with his own work, his Generator.x blog, and events focused on the work of others. The show is up through July 26th at Amsterdam's Melkweg Mediaroom, Paradiso, in conjunction with the 5 days off MEDIA festival. Everything included in it is the result of an assignment, which seems in keeping with an exhibition that responds to generative practices and computer-programmed processes. Artists Andreas Nicolas Fischer & Benjamin Maus; Leander Herzo; Daniel Widrig & Shajay Booshan; and Marius Watz have created digital prints and "audio sculptures" that respond to audioworks by Freiband and Alexander Rishaug. The artists have used techniques such as rapid prototyping, CNC, and laser cutting to make objects that map and visualize sound, in "frozen" form. Of course, these works may purport to stop time--existing almost like a single frame in a film strip--but they are utterly-time based, with the concept of frozen motion entirely scripted by the concept of time, and a processing of the structural qualities (timbre, tempo, rhythm, etc) of sounds informing the logic and form of the ultimate objects. A nice Flickr set documents the results which demonstrate both the diversity of ways in which sound can be interpreted and the fact that beauty still lies in the ear of the beholder. - Marisa Olson


Image: Marius Watz, Sound memory (Oslo Rain Manifesto), 2008 ...

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It Takes Two (Or More)



Cover yourself in post-it notes and become a digital puppet. Sit under the soothing sounds of wii wind chimes. Watch yourself travel back in time on video. Interact with a hotter, fitter 3D version of yourself. These are the prompts offered by the artists in "Double Take," an exhibition opening this weekend at Eyebeam with a promise to "challenge viewers to reconsider what we take for granted as reality in our technologically-mediated lives." A total of nine projects will be presented in the show which results from the Interactivos workshop organized by Madrid-based Medialab-Prado and hosted in New York by Eyebeam. All of the works were created collaboratively by an international group of artists, hackers, and tinkerers brought together under the premise of exploring "the blurry line between the real and the fake." But the interactive prototypes need your participation to bring them alive, so check out these "technologically-enabled illusions" between July 12-August 9. - Marisa Olson


Image: Tine Papendick, Digital Puppetry

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