Thomas Beard is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York.
BIO
BLOG POSTS
Interview with Guthrie Lonergan
"My whole art practice and art world grew out of intense Internet surfing, collecting and trading links on del.icio.us… Part of it is the feeling that there's so much stuff out there already that it seems pointless to make something new, from scratch-- which is perhaps a bit of a cliché response, but not untrue. The ephemeral nature of the Internet inspires a kind of disrespect for objects-- for for whole, perfect, "created" things. I'm really happy that, when someone comes to my website, my "portfolio" or whatever, they're basically just confronted with a list of lists-- and I like that they might leave thinking, "what did that guy really even do?" Even the word "collecting" implies too much physicality or weight; it's more like pointing or listing. In this way it's different than pre-Internet appropriation, because there's absolutely nothing precious or special to me about my specific source materials."
RHIZOME ACTIVITIES
Time Batteries
Dates:
Wed Apr 08, 2009 00:00 - Tue Mar 17, 2009
Light Industry
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
Time Batteries
Presented by David Joselit
Wednesday, April 8, 2009 at 7:30pm
Data storage is one of our fundamental economic, political and historical challenges. Data is collected from us whenever we click, charge, or swipe—it helps politicians decide who “we” are and what “we” want. Wal-mart knows how to use it to sell us things and Obama knows how to read it to take the nation’s temperature. But is there an aesthetics of data storage? Now that anybody can record almost anything, can this form of primitive image accumulation be a kind of art?
“Time Batteries” handle duration differently from classic video works by artists like Peter Campus, Bruce Nauman or Joan Jonas where the dilation of time was tied to the expansion of perception. Duration is now linked to the banal but fundamental ethos of storage. I will test this thesis by presenting two works: Mary Ellen Carroll’s film Alas poor YORICK! (2008) in which the artist’s drawing made from her hand transcription of the entire text of Laurence Sterne’s Tristram Shandy on a single sheet is burned on a beach in Truro, and Rachel Harrison’s Roman Holiday, a found moment of slapstick recorded from a restaurant table in Rome. I’ll discuss questions of media transfer and consumption (in fire, in boredom, and even of products) as manifest in these works, and I’ll draw a historical genealogy for a possible aesthetics of data storage.
David Joselit worked as a curator at The Institute of Contemporary Art in Boston from 1983-1989 where he co-organized several exhibitions including "DISSENT: The Issue of Modern Art in Boston," (1985) "Endgame: Reference and Simulation in Recent Painting and Sculpture" (1986) and "The British Edge" (1987). After receiving his Ph.D. in Art History from Harvard in 1995, he joined the Department of Art History and Ph.D. Program in Visual Studies at the University of California, Irvine, where he taught until 2003. He is currently Professor and Chair of the History of Art Department at Yale. Joselit is author of Infinite Regress: Marcel Duchamp 1910-1941 (MIT Press, 1998), American Art Since 1945 (Thames and Hudson, World of Art Series, 2003), and Feedback: Television Against Democracy (MIT Press, 2007). He writes regularly on contemporary art and culture for such publications as OCTOBER and Artforum.
Tickets - $7, available at door.
About Light Industry
Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.
About Industry City
Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.
For more information, please visit http://www.industrycityartproject.org
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
Time Batteries
Presented by David Joselit
Wednesday, April 8, 2009 at 7:30pm
Data storage is one of our fundamental economic, political and historical challenges. Data is collected from us whenever we click, charge, or swipe—it helps politicians decide who “we” are and what “we” want. Wal-mart knows how to use it to sell us things and Obama knows how to read it to take the nation’s temperature. But is there an aesthetics of data storage? Now that anybody can record almost anything, can this form of primitive image accumulation be a kind of art?
“Time Batteries” handle duration differently from classic video works by artists like Peter Campus, Bruce Nauman or Joan Jonas where the dilation of time was tied to the expansion of perception. Duration is now linked to the banal but fundamental ethos of storage. I will test this thesis by presenting two works: Mary Ellen Carroll’s film Alas poor YORICK! (2008) in which the artist’s drawing made from her hand transcription of the entire text of Laurence Sterne’s Tristram Shandy on a single sheet is burned on a beach in Truro, and Rachel Harrison’s Roman Holiday, a found moment of slapstick recorded from a restaurant table in Rome. I’ll discuss questions of media transfer and consumption (in fire, in boredom, and even of products) as manifest in these works, and I’ll draw a historical genealogy for a possible aesthetics of data storage.
David Joselit worked as a curator at The Institute of Contemporary Art in Boston from 1983-1989 where he co-organized several exhibitions including "DISSENT: The Issue of Modern Art in Boston," (1985) "Endgame: Reference and Simulation in Recent Painting and Sculpture" (1986) and "The British Edge" (1987). After receiving his Ph.D. in Art History from Harvard in 1995, he joined the Department of Art History and Ph.D. Program in Visual Studies at the University of California, Irvine, where he taught until 2003. He is currently Professor and Chair of the History of Art Department at Yale. Joselit is author of Infinite Regress: Marcel Duchamp 1910-1941 (MIT Press, 1998), American Art Since 1945 (Thames and Hudson, World of Art Series, 2003), and Feedback: Television Against Democracy (MIT Press, 2007). He writes regularly on contemporary art and culture for such publications as OCTOBER and Artforum.
Tickets - $7, available at door.
About Light Industry
Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.
About Industry City
Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.
For more information, please visit http://www.industrycityartproject.org
We Did It Ourselves!
Dates:
Mon Apr 06, 2009 00:00 - Tue Mar 17, 2009
Light Industry
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
We Did It Ourselves!
Monday, April 6, 2009 at 7:30pm
Presented by Guthrie Lonergan
"The success and failure (and illusion and depravity) of DIY in the era of Web 2.0 -- Little entries in The Big Database -- selections of new Internet art and Internet 'non-art' -- My Favorites! -- Something very real struggling beneath a heavy and ancient structure of corporate software defaults and cultural banality... What have we done? I will try very hard to offer insightful and enthusiastic annotation as I surf the net in public for you. I broke my laptop's keyboard but maybe I can borrow my girlfriend's. We will look at a vague Internet art movement (moment?) still growing -- critical of but subject to technology -- artists in relationship to The Big Database, collecting tiny home video thumbnails, or posting difficult metaphysical questions on Yahoo! Answers (a lot of Travis Hallenbeck and Joel Holmberg), etc. -- regular Internet users as artists -- artists using Google.com -- And with just-as-powerful pieces of online 'amateur content' -- an entire YouTube-based Fandom for fans of box-fans and washing machines, and 11 year-old kids sharing dull dreams as downloadable 3d models. A fully linked playlist will be released after the event... Please come!" - Guthrie
Guthrie Lonergan is an Internet and video artist based in Los Angeles. His work has been exhibited at the New Museum and Artists Space in New York and the Sundance Film Festival, and written about in The Wall Street Journal and Rhizome. He is a co-founder of Nasty Nets Internet Surfing Club. All of his work is online at http://www.theageofmammals.com
Tickets - $7, available at door.
About Light Industry
Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.
About Industry City
Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.
For more information, please visit http://www.industrycityartproject.org
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
We Did It Ourselves!
Monday, April 6, 2009 at 7:30pm
Presented by Guthrie Lonergan
"The success and failure (and illusion and depravity) of DIY in the era of Web 2.0 -- Little entries in The Big Database -- selections of new Internet art and Internet 'non-art' -- My Favorites! -- Something very real struggling beneath a heavy and ancient structure of corporate software defaults and cultural banality... What have we done? I will try very hard to offer insightful and enthusiastic annotation as I surf the net in public for you. I broke my laptop's keyboard but maybe I can borrow my girlfriend's. We will look at a vague Internet art movement (moment?) still growing -- critical of but subject to technology -- artists in relationship to The Big Database, collecting tiny home video thumbnails, or posting difficult metaphysical questions on Yahoo! Answers (a lot of Travis Hallenbeck and Joel Holmberg), etc. -- regular Internet users as artists -- artists using Google.com -- And with just-as-powerful pieces of online 'amateur content' -- an entire YouTube-based Fandom for fans of box-fans and washing machines, and 11 year-old kids sharing dull dreams as downloadable 3d models. A fully linked playlist will be released after the event... Please come!" - Guthrie
Guthrie Lonergan is an Internet and video artist based in Los Angeles. His work has been exhibited at the New Museum and Artists Space in New York and the Sundance Film Festival, and written about in The Wall Street Journal and Rhizome. He is a co-founder of Nasty Nets Internet Surfing Club. All of his work is online at http://www.theageofmammals.com
Tickets - $7, available at door.
About Light Industry
Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.
About Industry City
Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.
For more information, please visit http://www.industrycityartproject.org
τRξΔSVRΞ RθθM
Dates:
Wed Mar 25, 2009 00:00 - Tue Mar 17, 2009
Light Industry
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
τRξΔSVRΞ RθθM
Wednesday, March 25, 2009 at 7:30pm
Presented by Loshadka
"Then they disinterred the chieftain and gave him new clothes. In his grave, he received intoxicating drinks, fruits and a stringed instrument. The chieftain was put into his bed with all his weapons and grave offerings around him. Then they had two horses run themselves sweaty, cut them to pieces, and threw the meat into the ship. Finally, they sacrificed a hen and a cock."
Formed in May 2007, Loshadka is an online collective of interdisciplinary artists scattered across the East Coast. They make magic happen at loshadka.org via sharing original, found, and altered media on a group blog.
Along with Nasty Nets, Spirit Surfers and Double Happiness, Loshadka was identified as one of the key practitioners of “group blogging as a form of artistic practice” by Marcin Ramocki in his influential 2008 text “Surfing Clubs: organized notes and comments.” “From the art practice point of view,” Ramocki observes, “a post is a hybrid act involving both curatorial research and conceptual art gesture."
While most of the efforts are based online, the group also shows in person, attempting to reconcile the virtual work with the physical.
They (currently) are: Justin Clark, Petra Cortright, Thomas Galloway, Eric Mack, Ilia Ovechkin, Jay Peyton, Billy Rennekamp, Ken Seeno, Hayley Silverman, Will Simpson, Travess Smalley, and Dan Wickerham.
At Light Industry, Loshadka will screen a series of videos, individual efforts of the artists involved in the project, derived from a collective "toolbox" of items—custom-made tools, files, techniques and ideas.
http://www.loshadka.org
Tickets - $7, available at door.
About Light Industry
Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.
About Industry City
Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.
For more information, please visit http://www.industrycityartproject.org
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
τRξΔSVRΞ RθθM
Wednesday, March 25, 2009 at 7:30pm
Presented by Loshadka
"Then they disinterred the chieftain and gave him new clothes. In his grave, he received intoxicating drinks, fruits and a stringed instrument. The chieftain was put into his bed with all his weapons and grave offerings around him. Then they had two horses run themselves sweaty, cut them to pieces, and threw the meat into the ship. Finally, they sacrificed a hen and a cock."
Formed in May 2007, Loshadka is an online collective of interdisciplinary artists scattered across the East Coast. They make magic happen at loshadka.org via sharing original, found, and altered media on a group blog.
Along with Nasty Nets, Spirit Surfers and Double Happiness, Loshadka was identified as one of the key practitioners of “group blogging as a form of artistic practice” by Marcin Ramocki in his influential 2008 text “Surfing Clubs: organized notes and comments.” “From the art practice point of view,” Ramocki observes, “a post is a hybrid act involving both curatorial research and conceptual art gesture."
While most of the efforts are based online, the group also shows in person, attempting to reconcile the virtual work with the physical.
They (currently) are: Justin Clark, Petra Cortright, Thomas Galloway, Eric Mack, Ilia Ovechkin, Jay Peyton, Billy Rennekamp, Ken Seeno, Hayley Silverman, Will Simpson, Travess Smalley, and Dan Wickerham.
At Light Industry, Loshadka will screen a series of videos, individual efforts of the artists involved in the project, derived from a collective "toolbox" of items—custom-made tools, files, techniques and ideas.
http://www.loshadka.org
Tickets - $7, available at door.
About Light Industry
Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.
About Industry City
Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.
For more information, please visit http://www.industrycityartproject.org
Theater of Code
Dates:
Tue Mar 03, 2009 00:00 - Fri Feb 13, 2009
Light Industry
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
Theater of Code
Curated by Christiane Paul
Tuesday, March 3, 2009 at 7:30pm
Theater of Code will present three performance/interventions that explore how computer code, scripting language, and software applications relate to the movement of bodies and the staging and choreography of our lives.
Adrianne Wortzel's A Re-enactment of The Battle of the Pyramids is a performance installation of reconfigured robotic toys performing military maneuvers in rigid choreographed formations. Clusters of these toys snap to synchronization in response to a call to arms, their movements emulating the rigid and postured fighting strategies of Napoleonic warfare. These strategies, employed in Napoleon's Egyptian campaign, were particularly idiosyncratic in Egypt where they were persistently performed without consideration of either the desert environment or the fighting strategies of the enemy. The work is intended as a testimony to the tragic consequences of imperialism and the dangers, follies and sadness of a rationale for blind obedience that makes victims out of warriors.
Ursula Endlicher's Website Impersonations: The Ten Most Visited is a ten-part live performance series, which utilizes Web code as choreography. In the performance of facebook on March 3, 2009, at Light Industry, three dancers, the audience, and the artist will shape the course of the performance. The source of the website—its HTML tags—is interpreted live on stage into new dance movements, which are immediately translated into text-based descriptions and then stored online in the html-movement-library. This information is reused on stage as new instruction material. As the data performance progresses, more html-movements are developed, stored and altered by the participants. The user (=the audience) takes an active role in the performance of facebook.com. The inclusion of the html-movement-library on stage enables a simultaneous exchange of instruction and performance, data and movement input and output, and a continuous transfer between Web and body.
MTAA returns to Light Industry with two new performances of code-based art. In the first work—titled $"##'—MTAA re-stages John Cage's 4'33" within a framework of a new media lecture. The second project is a demonstration of Autotrace, a software-generated appropriation and shape creation system. As part of the Autotrace performance, MTAA will use one of the newly generated "Autotraced shapes" to create a ridiculously large, two-dimensional, site-specific work right in front of the audience's eyes.
Together, the three projects comment on the various levels in which our movements—from military maneuvers to social interaction and the presentation of a lecture—are encoded by technologies.
A Re-enactment of The Battle of the Pyramids
by Adrianne Wortzel
Initiated at Eyebeam Art and Technology Center in an Artist's Residency July-December 2009.
In continuing development at StudioBlue, New York City College of Technology.
Technical Director: Mike Gazes
Team: Nick Wong, Jaymes Dec, Soyoung Park, Saki Sato, Young Jin Chung.
http://adriannewortzel.com/battle
Website Impersonations: The Ten Most Visited #8 - www.facebook.com
by Ursula Endlicher
Concept / Stage layout / Video projection / Sound: Ursula Endlicher
Web Programming: Ursula Endlicher, David Farine
Choreography: html-movement-library / live HTML code
Performers: Melissa Lohman Burke, Irem Calikusu, Yuki Kawahisa
html-movement-library live feed: Ursula Endlicher - and the audience!
$"##', a re-staging of John Cage's 4'33"
and
Autotrace
by MTAA
Ursula Endlicher's work resides on the intersection of Internet, performance and multi-media installation. Since the mid-90s the Internet has had an impact on her practice, which bridges the Web and physical reality. She uses the Web’s 'hidden' language—its HTML code—to choreograph performances, visualizes HTML in installations, and translates it into sound. Her work was recently shown at Theater am Neumarkt in Zürich, Switzerland; at Quartier21/Museumsquartier, Vienna, Austria; at BM-Suma Contemporary Art Center in Istanbul, Turkey; at Woodstreet Galleries, Pittsburgh, PA; at Artists Space, New York, and at the LMCC Swing Space@Seaport in New York. She received commissions from Turbulence.org/New Radio and Performing Arts, Inc., and from the Whitney Museum for its artport website. Her work is included in Rhizome’s Art Base, and in the ursula blicke videoarchiv at Kunsthalle Wien, Austria. Endlicher has lectured about her work internationally and has contributed to several publications about net art, performance and interactivity; she discusses these topics on her blog, Curating Netart, which she runs together with Ela Kagel. She was born in Vienna, Austria and lives in New York since 1993. Endlicher’s work can be seen at http://www.ursenal.net.
Michael Sarff and Tim Whidden formed the artist collaboration MTAA (M.River & T.Whid Art Associates) in1996. In New York City, MTAA has presented artworks and performances at The New Museum of Contemporary Art; P.S.1 Contemporary Art Center; The Whitney Museum of American Art; Postmasters Gallery and Artists Space. Their work has also been shown at The Walker Art Center in Minneapolis; The Beall Center for Art and Technology in Irvine, CA; The Getty Center in Los Angeles and SFMOMA in San Francisco, CA. International exhibitions include the Seoul Net & Film Festival in Korea, and Videozone2 - The 2nd International Video Art Biennial in Israel. MTAA has received grants and awards from the Creative Capital Foundation, Rhizome.org, Eyebeam and New Radio & Performing Arts, Inc. Both members of MTAA live and work in Brooklyn, New York.
Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organization dedicated to digital art. She has written extensively on new media arts and lectured internationally on art and technology. An expanded new edition of her book Digital Art (Thames & Hudson, UK, 2003) was published in spring 2008 and her edited anthology New Media in the White Cube and Beyond - Curatorial Models for Digital Art (UC Press) in December 2008. Upcoming and recent curatorial work includes "Scalable Relations" (Beall Center for Art + Technology, Irvine, CA, and other venues); "SOS 4.8" (Murcia, Spain, 2008); "Feedback" (Laboral Center for Art and Industrial Creation, Gijon, Asturias, Spain, 2007); and "Profiling" (Whitney Museum of American Art, 2007). Christiane Paul teaches in the MFA computer arts department at the School of Visual Arts in New York and the Digital+Media Department of the Rhode Island School of Design.
Adrianne Wortzel creates interactive web works, robotic and telerobotic installations and performance productions, which explore historical and cultural perspectives by coupling fact and fiction via use of new technologies in both physical and virtual networked environments. They reflect her immersion in the sciences, sometimes with direct collaboration. The National Science Foundation; Swiss Artists-in-Labs Program; Artificial Intelligence Laboratory-University of Zurich; Franklin Furnace Fund for Performance Art; PSC-CUNY Research Foundation and Greenwall Foundation have supported recent projects. Recent works include: archipleago.ch, a video in progress depicting a "galapagos" where indigenous creatures are the robots created by researchers at the Artificial Intelligence Laboratory; Eliza Redux, an interactive collaborative work (elizaredux.org) where a physical robot offers virtual psychoanalytic sessions emulating Joseph Weizenbaum's ELIZA; The Veils of Transference, a video depicting a psychoanalytic session between a human and a robot where their roles become dynamically interchanged. Wortzel's telerobotic installation Camouflage Town was exhibited in Data Dynamics at the Whitney Museum of American Art (2001). Her play Sayonara Diorama, which she wrote and produced, featured human and robotic actors recounting a fictive second Voyage of the Beagle. Adrianne Wortzel is a Professor of Entertainment Technology at New York City College of Technology-CUNY, a member of the doctoral faculty of the Interactive Technology and Pedagogy Certificate Program at the CUNY Graduate Center, and an Adjunct Professor of Mechanical Engineering at the Cooper Union for the Advancement of Science and Art.
Tickets - $7, available at door.
220 36th Street, 5th Floor
Brooklyn, New York
http://www.lightindustry.org
Theater of Code
Curated by Christiane Paul
Tuesday, March 3, 2009 at 7:30pm
Theater of Code will present three performance/interventions that explore how computer code, scripting language, and software applications relate to the movement of bodies and the staging and choreography of our lives.
Adrianne Wortzel's A Re-enactment of The Battle of the Pyramids is a performance installation of reconfigured robotic toys performing military maneuvers in rigid choreographed formations. Clusters of these toys snap to synchronization in response to a call to arms, their movements emulating the rigid and postured fighting strategies of Napoleonic warfare. These strategies, employed in Napoleon's Egyptian campaign, were particularly idiosyncratic in Egypt where they were persistently performed without consideration of either the desert environment or the fighting strategies of the enemy. The work is intended as a testimony to the tragic consequences of imperialism and the dangers, follies and sadness of a rationale for blind obedience that makes victims out of warriors.
Ursula Endlicher's Website Impersonations: The Ten Most Visited is a ten-part live performance series, which utilizes Web code as choreography. In the performance of facebook on March 3, 2009, at Light Industry, three dancers, the audience, and the artist will shape the course of the performance. The source of the website—its HTML tags—is interpreted live on stage into new dance movements, which are immediately translated into text-based descriptions and then stored online in the html-movement-library. This information is reused on stage as new instruction material. As the data performance progresses, more html-movements are developed, stored and altered by the participants. The user (=the audience) takes an active role in the performance of facebook.com. The inclusion of the html-movement-library on stage enables a simultaneous exchange of instruction and performance, data and movement input and output, and a continuous transfer between Web and body.
MTAA returns to Light Industry with two new performances of code-based art. In the first work—titled $"##'—MTAA re-stages John Cage's 4'33" within a framework of a new media lecture. The second project is a demonstration of Autotrace, a software-generated appropriation and shape creation system. As part of the Autotrace performance, MTAA will use one of the newly generated "Autotraced shapes" to create a ridiculously large, two-dimensional, site-specific work right in front of the audience's eyes.
Together, the three projects comment on the various levels in which our movements—from military maneuvers to social interaction and the presentation of a lecture—are encoded by technologies.
A Re-enactment of The Battle of the Pyramids
by Adrianne Wortzel
Initiated at Eyebeam Art and Technology Center in an Artist's Residency July-December 2009.
In continuing development at StudioBlue, New York City College of Technology.
Technical Director: Mike Gazes
Team: Nick Wong, Jaymes Dec, Soyoung Park, Saki Sato, Young Jin Chung.
http://adriannewortzel.com/battle
Website Impersonations: The Ten Most Visited #8 - www.facebook.com
by Ursula Endlicher
Concept / Stage layout / Video projection / Sound: Ursula Endlicher
Web Programming: Ursula Endlicher, David Farine
Choreography: html-movement-library / live HTML code
Performers: Melissa Lohman Burke, Irem Calikusu, Yuki Kawahisa
html-movement-library live feed: Ursula Endlicher - and the audience!
$"##', a re-staging of John Cage's 4'33"
and
Autotrace
by MTAA
Ursula Endlicher's work resides on the intersection of Internet, performance and multi-media installation. Since the mid-90s the Internet has had an impact on her practice, which bridges the Web and physical reality. She uses the Web’s 'hidden' language—its HTML code—to choreograph performances, visualizes HTML in installations, and translates it into sound. Her work was recently shown at Theater am Neumarkt in Zürich, Switzerland; at Quartier21/Museumsquartier, Vienna, Austria; at BM-Suma Contemporary Art Center in Istanbul, Turkey; at Woodstreet Galleries, Pittsburgh, PA; at Artists Space, New York, and at the LMCC Swing Space@Seaport in New York. She received commissions from Turbulence.org/New Radio and Performing Arts, Inc., and from the Whitney Museum for its artport website. Her work is included in Rhizome’s Art Base, and in the ursula blicke videoarchiv at Kunsthalle Wien, Austria. Endlicher has lectured about her work internationally and has contributed to several publications about net art, performance and interactivity; she discusses these topics on her blog, Curating Netart, which she runs together with Ela Kagel. She was born in Vienna, Austria and lives in New York since 1993. Endlicher’s work can be seen at http://www.ursenal.net.
Michael Sarff and Tim Whidden formed the artist collaboration MTAA (M.River & T.Whid Art Associates) in1996. In New York City, MTAA has presented artworks and performances at The New Museum of Contemporary Art; P.S.1 Contemporary Art Center; The Whitney Museum of American Art; Postmasters Gallery and Artists Space. Their work has also been shown at The Walker Art Center in Minneapolis; The Beall Center for Art and Technology in Irvine, CA; The Getty Center in Los Angeles and SFMOMA in San Francisco, CA. International exhibitions include the Seoul Net & Film Festival in Korea, and Videozone2 - The 2nd International Video Art Biennial in Israel. MTAA has received grants and awards from the Creative Capital Foundation, Rhizome.org, Eyebeam and New Radio & Performing Arts, Inc. Both members of MTAA live and work in Brooklyn, New York.
Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organization dedicated to digital art. She has written extensively on new media arts and lectured internationally on art and technology. An expanded new edition of her book Digital Art (Thames & Hudson, UK, 2003) was published in spring 2008 and her edited anthology New Media in the White Cube and Beyond - Curatorial Models for Digital Art (UC Press) in December 2008. Upcoming and recent curatorial work includes "Scalable Relations" (Beall Center for Art + Technology, Irvine, CA, and other venues); "SOS 4.8" (Murcia, Spain, 2008); "Feedback" (Laboral Center for Art and Industrial Creation, Gijon, Asturias, Spain, 2007); and "Profiling" (Whitney Museum of American Art, 2007). Christiane Paul teaches in the MFA computer arts department at the School of Visual Arts in New York and the Digital+Media Department of the Rhode Island School of Design.
Adrianne Wortzel creates interactive web works, robotic and telerobotic installations and performance productions, which explore historical and cultural perspectives by coupling fact and fiction via use of new technologies in both physical and virtual networked environments. They reflect her immersion in the sciences, sometimes with direct collaboration. The National Science Foundation; Swiss Artists-in-Labs Program; Artificial Intelligence Laboratory-University of Zurich; Franklin Furnace Fund for Performance Art; PSC-CUNY Research Foundation and Greenwall Foundation have supported recent projects. Recent works include: archipleago.ch, a video in progress depicting a "galapagos" where indigenous creatures are the robots created by researchers at the Artificial Intelligence Laboratory; Eliza Redux, an interactive collaborative work (elizaredux.org) where a physical robot offers virtual psychoanalytic sessions emulating Joseph Weizenbaum's ELIZA; The Veils of Transference, a video depicting a psychoanalytic session between a human and a robot where their roles become dynamically interchanged. Wortzel's telerobotic installation Camouflage Town was exhibited in Data Dynamics at the Whitney Museum of American Art (2001). Her play Sayonara Diorama, which she wrote and produced, featured human and robotic actors recounting a fictive second Voyage of the Beagle. Adrianne Wortzel is a Professor of Entertainment Technology at New York City College of Technology-CUNY, a member of the doctoral faculty of the Interactive Technology and Pedagogy Certificate Program at the CUNY Graduate Center, and an Adjunct Professor of Mechanical Engineering at the Cooper Union for the Advancement of Science and Art.
Tickets - $7, available at door.
It's Always Halloween
Dates:
Fri Oct 31, 2008 00:00 - Tue Oct 28, 2008
Light Industry
http://www.lightindustry.org
It's Always Halloween
Presented by Jacob Ciocci
Friday, October 31 at 8pm
55 33rd Street, 3rd Floor
Brooklyn, New York
Pittsburgh artist Jacob Ciocci will present a new 20-minute mix of original videos and animations. He will also be premiering his new performance I Let My Nightmares Go which uses a video projector and live dance moves to grapple with mental demons, web 2.0, G.O.D., 21st-century breakdown, real lies and fake truths, cartoon violence, and awareness bracelets.
In addition he will be presenting a short program of video work by Jesse Hulcher (Pittsburgh/NYC) and Carlos Gonzales (Providence, RI).
Jacob Ciocci is a member of the east coast art collective Paper Rad. His work is concerned with the relationships between popular culture, technology and notions of transcendence. In his paintings, comics, performances, net art and videos, contemporary and recently forgotten cultural symbols confront one another inside a frenzied cartoon universe that is simultaneously celebratory and critical.
Jacob's work has been shown at the MoMA (Automatic Update, 2007), the New Museum, (ArtBase 101, Paper Rad and Matt Barton, 2005), The ArtReview 25 at Phillips de Pury, New York (2005), The Contemporary Museum, Honolulu (2003), Tate Britain, London (2003); the Museum of Contemporary Art, Chicago (2003) and the Institute of Contemporary Art, London (2003).
Jacob and Paper Rad have received critical acclaim in a range of publications, including: The New York Times; ArtReview, Artforum, Art in America, Rolling Stone, Mute, Vice, Issue, and Select. Publications include Internet Art (Thames and Hudson, 2004), and 2 artist’s books designed by Paper Rad: BJ and da Dogz and Cartoon Workshop/Pig-Tales (Picture Box Inc).
Tickets - $6, available at door.
http://www.lightindustry.org
It's Always Halloween
Presented by Jacob Ciocci
Friday, October 31 at 8pm
55 33rd Street, 3rd Floor
Brooklyn, New York
Pittsburgh artist Jacob Ciocci will present a new 20-minute mix of original videos and animations. He will also be premiering his new performance I Let My Nightmares Go which uses a video projector and live dance moves to grapple with mental demons, web 2.0, G.O.D., 21st-century breakdown, real lies and fake truths, cartoon violence, and awareness bracelets.
In addition he will be presenting a short program of video work by Jesse Hulcher (Pittsburgh/NYC) and Carlos Gonzales (Providence, RI).
Jacob Ciocci is a member of the east coast art collective Paper Rad. His work is concerned with the relationships between popular culture, technology and notions of transcendence. In his paintings, comics, performances, net art and videos, contemporary and recently forgotten cultural symbols confront one another inside a frenzied cartoon universe that is simultaneously celebratory and critical.
Jacob's work has been shown at the MoMA (Automatic Update, 2007), the New Museum, (ArtBase 101, Paper Rad and Matt Barton, 2005), The ArtReview 25 at Phillips de Pury, New York (2005), The Contemporary Museum, Honolulu (2003), Tate Britain, London (2003); the Museum of Contemporary Art, Chicago (2003) and the Institute of Contemporary Art, London (2003).
Jacob and Paper Rad have received critical acclaim in a range of publications, including: The New York Times; ArtReview, Artforum, Art in America, Rolling Stone, Mute, Vice, Issue, and Select. Publications include Internet Art (Thames and Hudson, 2004), and 2 artist’s books designed by Paper Rad: BJ and da Dogz and Cartoon Workshop/Pig-Tales (Picture Box Inc).
Tickets - $6, available at door.
