Production stills from Judy Radul, World Rehearsal Court, 2009.
A Thousand Eyes: Media Technology, Law and Aesthetics is an anthology published by Sternberg Press and Henie Onstad Art Center in Oslo, accompanying Judy Radul’s exhibition “World Rehearsal Court.” Radul’s work is a research project into the model of the International Criminal Court, complexly considering the effect technology and new media have had on our justice systems. Her work is a four-hour, seven-channel video installation that includes a courtroom staged and shot in a gymnasium, with a scripted text that takes the forms of vignettes, so that “you never get a whole picture” (Judy Radoul in an interview for Artforum), while including the viewers, who are filmed and projected onto screens that form part of the installation.
Edited by Radoul and Oslo-based curator and art historian Marit Paasche, A Thousand Eyes introduces a different way of discussing the idea of law and the modern justice system in a way that is different than commonplace representation of law and lawmaking in the visual arts. Whereas the form of the trial has been commonly used in artworks, performances, and symposia in the contemporary art world (I am thinking, for example, of Hila Peleg’s film documenting Anton Vidokle and Tirdad Zolghadr’s A Crime Against Art [The Madrid Trial], where the artist and curator put themselves on trial for “collusion with the bourgeoisie and other serious accusations”), the discussion of law and lawmaking in the arts has largely focused on subjects of intellectual property, artistic freedom, and censorship (for example, in Daniel McClean’s (ed.) excellent book The Trials of Art [London: Ridinghouse, 2007]). This book introduces and promotes an intricate web of ways of thinking about the relationship between visual media and the law.
In the introduction to the book ...
Performa, the Performance Art Biennial, has announced its full calendar of events for the duration of the biennial, November 1-21. The projects involved vary from commissioned theatrical pieces, film series, lectures, exhibitions, walking tours, and public actions. The full calendar of events can be seen here.
The relationship between visual art performance and digital culture is rich in possibilities, which Performa allows us to survey every two years. One of the most productive characteristics of the biennial is its focus on a link with the past and the consideration of contemporary activity within this prism. Thus, the 2009 edition focused on Futurism, and the 2011 one will focus on Russian Constructivism and Fluxus, its research themes deriving from this interest to span language, translation, the politics of speech, and the animation of modern sculpture. All of these provide context for the full, long, and impressive list of events that would happen as part of the biennial, as well as a rare space to consider contemporary practices in light of art history.
Below is a list of recommended Performa events. It was compiled from the calendar, keeping in mind the biennial's focus, but highlighting the prospects of interesting intersections between performance art, architecture, and digital culture. Details such as date, location, and price can be found on Performa's website.
Ed Atkins, Haroon Mirza, and James Richards, An Echo Button, 2011
MARKUS MIESSEN AND GUESTS
ON SPATIAL POLITICS
Berlin-based architect and writer Markus Miessen discusses the relationship between contemporary politics, architecture, and space.
SPEECH ACTS AND 3D MODELING
Artist Serkan Ozkaya researches J. L. Austin's How To Do Things With Words and 3D modeling of Michelangelo's David in this talk about language and objects.
Israeli collective Public Movement initiates a new action in ...
Sissu Tarka, Pirate Affect, 2008
The Piracy Project was initiated by AND Publishing as a result of a threat to close down the Byam Shaw Library at Central Saint Martins school of art in London, where AND is located. AND's website defines the Piracy Project as "an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction." What this means in practice is a series of suggestions to the way we interact with books, all of which are archived on the project's website, as well as distributed and exhibited by AND Publishing.
Could book piracy be considered a methodology? At a time when discussions about book piracy have proliferated mainly as a result of the rising popularity of e-readers (so often described as the publishing industry's saviors), the publishing industry found itself in a position similar to that of the music and film industries, both of which have been fighting piracy unsuccessfully for a long time. Still, somehow, book piracy always seemed a little different. True, it has its quirks, like illegal translations done from a language other than the original or chapters added in to an illegal version. But maybe book piracy seems different because in a way, we have all pirated books. We read PDFs that a university professor scanned from his or her private copy of a book, including their comments in the margins. We try to interpose open pages on Amazon and those on Google Books in order to get the information we are looking for. Somehow, it seems more acceptable; when a professor scans a few chapters from a private copy it is deemed "fair use," and thus not a copyright infringement, because it is done for educational reasons. But the habit ...
An artist living in a gallery for the duration of a show is a trope of visual art performance, which left a mark in popular culture portrayals of performance art. Even though these works emphasize considerations of the gallery space, the relationship between the artist and the audience is not always the center of the piece. In the iconic I Like America and America Likes Me, Joseph Beuys was rushed from the airport to a New York gallery in an ambulance and left in an ambulance, leaving the US without having set foot on its soil. Tracy Emin lived in a locked room in a Stockholm gallery as part of Exorcism of the Last Painting I Ever Made in 1996. The audience could only see her naked figure through fish-eye lenses embedded in the walls as she spent her days painting.
In a new project launching November 2, Berlin-based artist Gretta Louw takes this relationship two steps forward, one step back. Like Beuys, she could not be seen at the gallery, but like Emin, she will be viewed through a lens. Twenty-four hours a day for the ten day duration of the show, Louw will be in constant communication with her audience via different online platforms: Skype, Facebook, Twitter, and so forth. The project, Controlling_Connectivity, is described on Art Laboratory Berlin's site,
Controlling_Connectivity uses the pervasiveness of internet-based social networking, as well as the obligation and opportunity for constant connection with these platforms as a paradigm for a severe and systematic disruption of normal, socially accepted patterns of life and interpersonal interaction during a self-documented performance. Taking to its natural extreme the notion that new technologies are increasingly dictating our social interaction, professional life, and have a far reaching effect on many other aspects of daily life, Gretta Louw ...
Corporate Video Decisions, 2011
“Corporate Video Decisions,” your current exhibition at Michael Lett gallery in Auckland, includes the covers of Corporate Video Decisions, a magazine from the 1980s about the use of video technology in corporate culture, shown on flatscreen televisions, and a series of printouts of the entire content Diligent Boardbooks’s website, a paperless business software company based in Christchurch, NZ and New York. I’m really fascinated by this double inversion of the way content is communicated to us: the print magazine on monitors, the website printed out. Can you talk a little bit about the exhibition and your use of inversion, as well as languages of marketing and advertisement, as an aesthetic strategy?
Yeah, I should say first that there is another layer of processing that is maybe difficult to make out in the online photos of the exhibition. The print magazine covers were actually photographed playing as jpegs on the LCD 3D-enabled televisions, then that whole image is inkjet printed on canvas, twice—like two copies of each canvas—and these are screwed together with aluminum tubing between the two canvasses in each corner, spaced to mimic the dimensions of the monitor they depict. So you have two canvasses with the same image on top of each other in place of the monitors.
To answer the question, for me, the exhibition’s aim is to present two snapshots of different moments in the recent history of commercial video through looking at these quite different pieces of ephemera—a magazine and a website. The nature of video technology is such that a fast, controlled, obsolescence cycle is systemic to its existence, and materials and formats come and go very quickly. As this is the case, making an exhibition that has this fact built into the way it is presented is for me very important. That is to say, the way the content is presented should form a dynamic which helps describe the show’s themes. Depicting the fickle material conditions of video via changing formats of what is regarded at a certain moment to be contemporary ephemera (magazines, websites), which are then presented through another fast shifting technology (printing), one indicates these movements in the presentation structurally.
Contrasting this ephemerality with the themes that are covered in the 80s magazine—trade fairs, gender and minority equality, economic conditions, crisis culture, generic products—(these topics clearly relate very well to our current moment also), underlines the truism that while technology might change, certain issues tend to be relevant for longer periods.
For me the exhibition’s format highlights this tension between the permanent and the impermanent, between vast material change and comparatively slow shifts in life/work conditions.
On the language of advertising, one has of course this ambivalent relationship to it where one knows it’s manipulative, but its efficiency is seductive and affective. One most likely follows this language’s logic implicitly in one’s self. That is to say this way of communicating is unavoidable and is just there. I am not sure if looking at this is really an aesthetic strategy. Even just conversing can be considered to be a commercial act, and it’s not so easy to attach a value to this. It is one’s life, after all...