Michael Connor
Since 2002
Works in Brooklyn, New York United States of America


Bodies on the Line


"You can have the party. Give us the power!"

Andrea Fraser had already been onstage in front of a packed house at the New Orleans Museum of Art's auditorium for more than half an hour. Dressed in a black suit, she was delivering a monologue based on the transcript of an epic 1991 city council meeting. In that meeting, an ordinance was discussed that would ban discrimination in any of the social clubs that apply for parade permits in New Orleans. The discussion opened up into a marathon airing of thoughts and grievances on racism, heritage, and the role of the carnival in a city defined, in many ways, by its Mardi Gras.


First Look: Amalia Ulman—Excellences & Perfections


Amalia Ulman's social media performance Excellences & Perfections is presented as part of First Look, the ongoing series of digital projects co-curated and copresented by Rhizome and the New Museum. For this presentation, Rhizome's new social media archiving tool was used to capture the Instagram portion of the performance. View that capture here.

Amalia Ulman, Excellences & Perfections, 2014 (detail). Performance: Instagram. Courtesy the artist.

On April 19, 2014, Amalia Ulman uploaded an image to her Instagram account of the words "Part I" in black serifed lettering on a white background. The caption read, cryptically, "Excellences & Perfections." It received twenty-eight likes.

For the next several months, she conducted a scripted online performance via her Instagram and Facebook profiles. As part of this project, titled Excellences & Perfections, Ulman underwent an extreme, semi-fictionalized makeover. 

She pretended to have a breast augmentation, posting images of herself in a hospital gown and with a bandaged chest, using a padded bra and Photoshop to manipulate her image. Other elements of the makeover were not feigned; she followed the Zao Dha Diet strictly, for example, and went to pole-dancing lessons often.


First Look: David Kravitz & Frances Stark


Opening the Kimono by David Kravitz and Frances Stark is now on view as part of First Look, the New Museum's ongoing series of digital projects, which will now be co-curated and co-presented by Rhizome. Click here to view work.

David Kravitz and Frances Stark, Opening the Kimono (2014). iMessage conversation.

In a recorded iMessage chat, David Kravitz and Frances Stark satirize Silicon Valley culture and sext about creative labor.

When artist Frances Stark and Snapchat developer David Kravitz discussed the idea of having sex on stage during a public presentation at the New Museum last spring, it wasn't entirely surprising. 

This proposal came as part of Rhizome's Seven on Seven Conference, which pairs artists and technologists for a one-day collaboration with the prompt to "make something" and then present it to the public the following day. During their presentation, neither of their bodies was on view on stage (Kravitz came up alone for the Q&A). Instead, they appeared onscreen via a live iMessage conversation.


Five Years Later, Kev Has a New Website


Kev in one of his favorite meditation places, an old rock quarry upstate.

Kev Bewersdorf and I had been neighbors for months before we met. When we did, it was because he needed gas for his generator, but I didn't have any.

At that point, he had already deleted all of the images, texts, and music he'd once posted online. But previously, 2008ish, I had followed his work avidly. He used to have a website called Maximum Sorrow consisting of texts and artworks connected with his "philosophy of 'corporate spiritualism' realized through marketing practices and continuous web surfing." Bewersdorf also pursued this interest in web surfing through his occasional participation in Nasty Nets and his role as co-founder of Spirit Surfers (with Paul Slocum and Marcin Ramocki). (For those who can't remember a time before Tumblr, these were surf clubs, or artist-run collaborative blogs to which members would post found and created images, texts, gifs, and tracks.)


Aleksandra Domanović's Internet Realism


From yu to me (2014). Still frame from single-channel video with sound.

Aleksandra Domanović's From yu to me was commissioned by Rhizome, Abandon Normal Devices, and Fridericianum. View the work and read an accompanying text by Brian Droitcour here.

"Every map of the internet looks the same."

Multi-directional trees, hubs and spokes and branches, clouds of varying density: to Alex Galloway, writing in his book The Interface Effect, the many attempts to visualize information society all begin to look the same. Maps of the internet, he argues, tend to conceal more than they reveal; the main purpose they serve is to dazzle the beholder with the complexity of it all.



Discussions (78) Opportunities (0) Events (1) Jobs (0)
DISCUSSION

Should we be capitalizing Internet?


The Rhizome style guide calls for the word "internet" to be written in lower case, but I have been continuing my normal practice of capitalizing it, maverick that I am.

To not capitalize it is more post-internet and cool. It suggests that the internet is not monolithic, but is many things; it suggests that it is an institution (like cinema or television) rather than a technical infrastructure. Heather is convinced that we should continue to not capitalize it.

I feel like capitalizing Internet is more techie and old-school, because in the 1980s there were other proposed "internets" that didn't really take off. So the Internet we use is a proper noun, referring to one possible network of many.

More context: http://en.wikipedia.org/wiki/Capitalization_of_%22Internet%22

Thoughts...?

DISCUSSION

Internet Real Estate, Art and Power: The cases of Artsy and .art


Hi Tom, I did read all of those posts while this article was in process, thank you for sharing them here. I think Orit added something new to the discussion through her bringing together of these two examples as indicative of a growing awareness of the underlying political structures behind the URL,

The article does indeed say "whoa, wait a minute." For example:
"But it also presents the organization with the opportunity to wield a kind of centralized power that seems incongruous not only with the egalitarian politics advanced through e-flux’s editorial, but also with the concept of the Internet as a shared resource."

Also: dotorg for life baby. I am, like you, skeptical that the GTLDs will change the face of the internet, but I don't think the article advances the ICANN party line. The point of Orit's Zola flourish was to suggest that there is serious money involved, a point I think you'd agree with.

Finally, the question of a gatekeeper vs curator is quite a tricky one. While I wanted to support Orit in asking critical questions about e-flux' stewardship of the .art domain, I am happy this didn't turn into a straightforward argument on behalf of deviantart's bid, which raises its own kind of issues.

A few years ago I wrote a text 'A Manual for the Twenty-First Century Gatekeeper' ... I admit that I was guilty of imprecisely defining my terms, but I would also argue that this follows common usage; the word 'curate' is now often used to refer to the act of selecting content.

One idea that came out of my research was that democracy tends not to be the most interesting process for the selection of artwork. The reason for this is that the selection or inclusion of an artwork typically tells an audience more about the selector than it does about the work. Selections made by large groups cannot be said to be more or less valid than those made by individuals or small groups, and they lack any sense of personal risk, of a passionate commitment made by an advocate on behalf of the work.

While I share your worry about the centralization of online art power in e-flux's hands, I also admire and enjoy their curatorial voice, and I'm not quite ready to throw my support behind deviantart...

In your post on the topic, your contrast between "web-based art culture" and the "gallery-based power structure" does elide some of these complexities. Granted, it was a short blog post, and I don't mean to nit-pick. But I'm glad that Orit chose not to offer up an easy resolution, because I don't think one exists.

DISCUSSION

EVENT

Definition I: Low-Res (Palazzo Peckham)


Dates:
Thu May 30, 2013 16:00 - Thu May 30, 2013

Location:
Venice, Italy

Rhizome's Michael Connor moderates a conversation with Hito Steyerl and Oliver Laric at Palazzo Peckham.

(The last bridge on the left at the end of the Garibaldi (the road between the Arsenale and Giardini!)


DISCUSSION

Jack Goldstein, GIF Artist?


Sounds like a great event..