In the Anarchitekton hotographs, Barcelona-based artist Jordi Colomer shows characters carrying cardboard architecture models, exact replicas of the buildings, in front of which they are moving around. I particularly like the on in Barcelona, This way he simultaneously denounces the reality of these constructions and celebrates the utopia that they once upheld.
Jordi Colomer, Anarchitekton Brasilia, 2004
More images in artnet.
Colomer, together with Francis Alÿs, Pedro Cabrita Reis, Marcelo Cidade, and Anita Molinero, is part of Modern©ité , an exhibition that presents poetic and critical views of the modern urban environment. Focal point is the issue on how the ideological foundation of modernist architecture and city planning can be reconciled with the elusive character of a constantly changing society.
BETWEEN / EVERYDAY
Exhibition Dates: April 15 - May 20, 2006
Opening Reception: Saturday, April 15, from 6 - 8 PM
Fringe Exhibitions is pleased to present the work of Jessica Irish. Entitled "Between / Everyday," this site specific installation of recent video projections explores new ways to visualize and construct both the ideology and experience of the built environment. In the main space Irish will present "Level" a four channel video installation in which visual imagery composited from several domestic cities continuously shifts points of view and perspective, as concrete becomes sky and surface becomes structure.
Gallery Hours: Thursday - Saturday 12 - 6
or by appointment
504 Chung King Court
Los Angeles, CA 90012
I've been doing some research on related stuff recently and it's
beginning to lead into a kind of strange direction. What I'm going to
say is not about digital art in general but about Net-Art in general.
For a long time I've been touting the merits of the abstract and do
in fact feel that it's one of the most important moves in recent
art. So important that to simply abandon it as old fashioned would be
a shame. It's definitely important stuff. But as far as Net-Art is
concerned, it's hard to ignore the Pop-Artness of it. It uses
elements of mass culture and due it's (most often) screen-based
nature, it tends to have a graphic-design quality to it. On top of
that, it has one more very significant feature that Pop-Art didn't
have. Almost anyone can experience it in an environment of their own
Here's a good description of net art, it's: "popular, transient,
expendable, low-cost, mass-produced, young, witty, sexy, gimmicky,
glamorous, and Big Business"
Only, this list wasn't devised as a description of net art. It's
Richard Hamilton describing Pop-Art in the late 50's. Eery, eh?
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This weekend is your last chance to see...
Open Vice/Virtue: The Online Art Context by Andy Deck at HTTP.
We thought that we'd put together some images from the opening night &
of the overall installation, so those who have not been able to visit
the exhibition can at least get a taste of what was on show.
The opening night - photographs by Neil Jenkins:
Images of the exhibition installation - photographs by Neil Jenkins &
how to interpret the world around us
The work of Trevor Pagen is tactical media, speculative non-fiction - an "experimental geography" - as he calls it, accompanied, of course by "experimental lectures". The online component of his work has a travel-logue quality, with interventions and alien inspired expeditions validated by documented, journalistic interviews. Pagen is a cross-disciplinary practitioner and tactitioner in writing, installation, photography, lectures, performances, interventions, and exhibitions. He appropriates technologies and practices and originates the necessary techniques. One such, "limit-telephotography", was developed for The Secret Bases project to examine the non-space of secret bases and their supposed non-existence.
In projects like Carceral Landscape the Prison Infiltration and Surveillance Suit was performance attire developed to enable covert videography for the project. Documentation is shown from these visits. Pagen co-opts the stealth technlogies to spy back on the spies and uncover the covert, which he weaves together in speculative, but plausible narratives to help us interpret the world around us.