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


#7on7HTC: Fever Pitch


Seven on Seven is tomorrow! It's sold out, but never fear: Giampaolo Bianconi will be hosting a liveblog of the event, so you can follow along here as it happens.



Breaking the Ice


Pierre Huyghe, A Journey that Wasn't

Today is the start of my first full week here at Rhizome in the role of Editor & Curator.


In Search of Reality at the Berlin Biennial


This disjunct between reality and its illusory other, the world of privileged consumerism, was at the heart of the 6th Berlin Biennial. In the exhibition catalog, curator Kathrin Rhomberg wrote that there is a growing "gap between the world we talk about and the world as it really is." In an effort to close this gap, the Biennial wrestled with contemporary issues and realities far beyond the gallery walls - an all-too-rare impulse in the hermetic field of visual art.

Unfortunately, this Biennial may well have convinced many of its visitors that artists should stick to the studio; too many of the works lacked any nuance in their portrayal of external realities. There was a highly unpleasant video of a horse being knocked off its feet, subtly titled Problems with Relationship. There was Bernard Bazile's inept installation of shouty protest videos from Paris. There was Sebastian Stumpf running into private garages just as the doors closed behind him, Indiana Jones-style.

Yet there were also moments of brilliance along the way. At its best, the Biennial yielded keen insights into the conditions of contemporary capitalism and the relationship between the personal and the political. Without further ado, here are some of the highlights.


Interview with Graham Harwood


Telephone Trottoire is a publishing system for communities to share news, stories, and opinions over the mobile phone. The system dials members of the Congolese community and plays them a recording in the Lingala language. The recording might be a story, song, or joke, or it could be a discussion of a serious issue. The recipient of the call has the option of leaving a comment in response or forwarding the call to someone else, allowing the system to grow virally. It was developed on behalf of Congolese communities in London by MediaShed, a 'free-media' organization based in Southend-on-Sea, England.

At 01SJ 2008, three artists Graham Harwood, Richard Wright and Matsuko Yokokoji (formerly Mongrel ) presented Tantalum Memorial, an art installation based on Telephone Trottoire. This same installation will be on view at the art and digital culture festival transmediale in Berlin this week. Tantalum Memorial is one of eight projects to win the transmediale 2009 Award. I met up with Harwood at a Peet's Coffee in San Jose last June to discuss these two projects. He wore a hat with the word 'ADDICT' emblazoned across the front (his son's) and ordered an herbal tea. - Michael Connor



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DISCUSSION

OPPORTUNITY

Birth Rites Collection Bi-annual Award


Deadline:
Sat Feb 07, 2015 23:59

Location:
London, United Kingdom of Great Britain and Northern Ireland

Submissions for our Birth Rites Collection Bi-annual Award are now open!

Artwork can be submitted in any medium.
DEADLINE 7th February 2015.
Entry fee £10

The winner will receive a residency at the Women’s Art Library, Goldsmiths University, London plus a stipend and winning work to be included in the Birth Rites Collection, The University of Salford. Shortlisted artists will have thier work screened digitally at Media CityUK in the Egg Suite in March 2015.

The Birth Rites Collection is the first and only collection of contemporary artwork dedicated to the subject of childbirth. The collection currently comprises of photography, sculpture, painting, wallpaper, drawing, new media, documentary and experimental film. It is housed between the Royal College of Gynaecologists and Obstetricians in London and Salford University Midwifery Department.

Judges: Helen Knowles BRC Curator & Althea Greenan, Women's Art Library, Goldsmiths University, London.
For more info:

http://birthritescollection.org.uk/#/media-city-bi-annual-award/4587224707


DISCUSSION

Bodies on the Line


I fully agree about etiquette w/r/t social media being needed! I think in this case it's particularly complex because no one seems really clear on the object boundary - i.e., whether the social media response should be considered "part of the work."

It's hard not to read "monitoring social media channels" without an Orwellian spin.

Of course, that is exactly what we did by archiving Amalia Ulman's Instagram feed, although everything captured on it is "public" in the sense that anyone can see it, without logging in. In that case, we made the specific decision not to capture her Facebook feed, which has a greater expectation of privacy attached to it. Such archives undermine the contextual integrity of social media, and the balance between this and various arguments for the public value created by non-profit digital archives requires further analysis.

DISCUSSION

Bodies on the Line


I'm dismayed by your suggestion that Ryder is currently being subject to harassment tactics. As we and you and others have pointed out, Ryder is far from the only one of us whose practice has ethically unsound aspects at times, and to continue to demonize him is too easy, and unproductive. To harass him is certainly unconscionable. As Heather said above, we all feel sorry for the distress that we caused Ryder.

I'm also a bit dismayed by your attack on closed Facebook discussions. To argue that every viewpoint, however unpopular, must be expressed in full public view is in effect to advocate for censorship.

Also, two factual corrections.

First, saying that we planned to "monitor" social media is a distortion. We are working on archiving social media, but we're working through the ethical implications of this; I anticipate that this will take the form of working with communities and users and putting tools in their hands rather than "monitoring" them.

Second, you say on your blog that this "started" on private Facebook groups. Maybe, but from my perspective the conversation about 'Art Whore' get going on Ryder's own Facebook thread, not on a private group. (That's the thread that would have been most useful for Rhizome to archive I guess, if the tools had been ready at that time, and if it met our still-evolving ethical guidelines to do so.)

Ryder deleted that thread, and many of the extant criticisms of his project were gone by the time I began writing my article.

DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


The internet does have a short memory, and we are always struggling against this. But I find the constantly enforcement of indebtedness equally destructive to the idea of the internet as a "vital and contested site for artistic practice." Not only does this obscure the specificity of emerging practices, it also locks the older generation in a time capsule. People like Harwood/YoHa, Olia, Ubermorgen and JODI have all made really exciting work over the last six years that isn't just a rehash of their early careers. I think discussions of the fallacies of digital dualism and web objectivity, the idea of the internet as practice and not medium, questions of digital materialism and labor, and ideas of posthuman, networked cultural production--these ideas may have been present in net art and its precursors, but they have been elaborated in recent years in ways that may be in conversation with the past, but should be appreciated for their specificity, not written off with a world weary sense of deja vu.