By
Rhizome
on
Monday, February 8th, 2010 at
2:40 pm
Rhizome is pleased to announce Seven on Seven a new major initiative
that reflects our mission to connect art and new technology. Seven on Seven will pair seven artists with seven technologists in teams of two, and challenge them to develop something new --be it an application, social media, artwork, product, or whatever they imagine-- over the course of a single day. The seven teams will present their ideas at a one-day event at the New Museum on April 17th.
Recalling the groundbreaking 1966 event 9 Evenings, in which dancers,
visual artists and musicians were paired with engineers and
scientists, Seven on Seven is aimed at enriching all involved, and
putting forth important, new projects that tie to Rhizome’s mission of
openness and innovation in art. Documentation of the event will be made available online following the event.
Seven on Seven Participants include, on the technology side, Ayah
Bdeir, Jeff Hammerbacher, David Karp, Andrew Kortina, Hilary Mason,
Matt Mullenweg, and Josh Schachter, and on the art side, Tauba
Auerbach, Cao Fei, Aaron Koblin, Monica Narula, Marc Andre Robinson,
Evan Roth and Ryan Trecartin.
Seven on Seven is a new program set to recur annually, and raise
support for Rhizome. In its first year, Seven on Seven is made
possible through the generous support and collaboration of Wieden +
Kennedy / PIE. Additional lead support was provided by Betaworks and
Mozilla. We would also like to thank our media partner, Mashable, and
Kickstarter for donating space for the teams to work Thanks to FUTURE FRIENDS for Seven on Seven's logo design..
Since 2006, the two artists have been collecting films from mobile phones in the public sphere. It is the mixture of amateurish documentation of your own life, of a direct, unhampered view on your own reality, of unmotivated, unguided camera movements as the expression of boredom but also of directed little scenarios that aroused our collector's instincts. Paulitsch and Weyrich are accepting all films into their archive uncensored. This is increasingly developing into a fascinating document of our times, to a sort of evidence-gathering on and siting of the present. Above all, however, it resembles a bizarre album of weltering digital imagery.
For the exhibition YOU_ser 2.0 in the ZKM | Media Museum, the two artists make their mobile film archive accessible for visitors via mobile tagging. The mobile films are concealed behind the colourful QR codes, which visitors can decipher with their own WLAN-mobiles or with the mobiles provided by the museum. In this way, the content of the films Paulitsch and Weyrich are collecting on the street and publishing on the Net returns to the private sphere and into the medium where they originate. The video blog serves to show new extracts from this archive and offers a platform to films currently being collected.
By
Ceci Moss
on
Monday, February 8th, 2010 at
12:00 pm
Each code represents a visual enryption of a search on 'Aram Bartholl' in a specific language on Google.
A Google Portrait is a drawing which contains the Google URL search string of the portrayed person in encoded form. Any camera smart phone is capable to decode the matrix-code with the help of barcode reader like software. The result points the mobile phone browser to a search on the portrayed person's name at Google.
A large number of people can be found by name on Google today. Everyone who is working on a computer and uses the internet regularly can be found on Google. Even people who don't use computers can be found sometimes because their names appear in 'old' media (i.e. books) on the net.
'Egosurfing' is a popular way for a user to find out what websites and information Google returns on his/her name search.
How many hits does Google show on my name? Am I popular? Do I want to be found at all? Who writes about me? What do people find out about me when they google my name? Am I in concurrence to other persons with the same name? Do I rely on the results Google shows me on a person's name? In which way do I relate to someone which I only known by Google results?
By
Ceci Moss
on
Monday, February 8th, 2010 at
11:00 am
Michele Pred Explains You Are What You Buy
I chose to create an embroidered version of a barcode to represent how technology has become interwoven, fused with our lives and our identity- to represent how we have become one and the same with technology.
Through new technology cell phones are now capable of scanning and decoding barcodes. However, these barcodes are a little different than the ones you see scanned at the grocery store: they are called 2D barcodes and are composed of black and white squares that encode the URLs to any website of creator's choice. In other words, these Data Matrix format barcodes are a physical hyperlink. Through my research I have learned how to create and program 2D barcodes with embedded text messages. I have also discovered that these barcodes can be reproduced in a variety of materials and are still capable of being scanned/read with a mobile phone.
N Building is a commercial structure located near Tachikawa station amidst a shopping district. Being a commercial building signs or billboards are typically attached to its facade which we feel undermines the structures' identity. As a solution we thought to use a QR Code as the facade itself. By reading the QR Code with your mobile device you will be taken to a site which includes up to date shop information. In this manner we envision a cityscape unhindered by ubiquitous signage and also an improvement to the quality and accuracy of the information itself.
By
John Michael Boling
on
Sunday, February 7th, 2010 at
1:39 pm
THERE IS ANOTHER SUPER BOWL AND IT’S IN QUEENS IN AN OLD SYNAGOGUE
You can watch “More Than Super” live at http://www.livestream.com/mattandjudebowl at 6:00 pm, February 7 starting with pregame activities. Kick off will be around 6:25 pm EST.
On Sunday, February 7, the great American event that is the Super Bowl will be contested twice. Super Bowl XLIV will be played in Miami, Florida in front of a packed stadium and an international television audience of millions. Simultaneously an “improved” version of the game will be played in Ridgewood, Queens before a live audience of a few dozen enthusiasts and streamed online to perhaps hundreds more. Artists Matt Freedman and Jude Tallichet are producing “More Than Super”, a simultaneous, play-by-play restaging of the Super Bowl with a small army of collaborators who will substitute themselves for all the roles in the spectacle--players, referees, TV producers, half-time performers, advertisers, team owners, and fans in the stadium. The duplicate game will be staged in the artists’ studio, a defunct synagogue in Queens. Freedman and Tallichet have created a miniature football stadium in the old sanctuary; stained glass windows bracket the end zones and dusty chandeliers illuminate the field. The entire production will stream live as the actual game is played. Freedman and Tallichet will play a game identical to the Super Bowl, but better.
The artists will use the slivers of time between the broadcast plays in the “real” football game to restage the action that had just taken place. Just two people in Queens will do the work of the 90 professional athletes playing the game in Miami. Freedman will play all the positions, offensive and defensive, for the NFC champion New Orleans Saints and Tallichet will portray the entire AFC champion Indianapolis Colts team.
Great care will be taken to recreate the ambience of the television broadcast as accurately as possible, down to the half-time entertainment, but “More Than Super” will be a collaboration rather than a competition, more an awkward dance than a sublimated war. The game in the synagogue will engage America’s greatest spectacle and cut it down to size.
By
Jenny Jaskey
on
Friday, February 5th, 2010 at
1:00 pm
As the second part of a series on art, labor, and politics, I spoke with Jeff Hnilicka of FEAST, a Brooklyn-based community dinner that funds the work of emerging artists. FEAST will be hosting their next meal tomorrow evening, February 6, from 5-8 p.m. at Church of the Messiah, 129 Russell St, Brooklyn NY. The event is open to the public. - Jenny Jaskey
What is FEAST and how did you begin?
Jeff Hnilicka: FEAST has been going on for a little over a year and runs out
of a church basement in Greenpoint. There are around twenty people
who help facilitate it. We come from the art world, food world, and
design world, and we are connected to ideas of collectivism and
immediacy – things like zines, living room dance parties, bike rides,
and dinners. Many of us are also involved with
Hit Factorie, an artist collective.
FEAST grew out of our desire to investigate the collapse of
cultural production in the face of emerging sustainable food
production systems that were successful. We wanted to ask “what is
localism?” in relation to cultural production and how the structures of
a farm co-op translate to an art economy. In the food world, the
sustainable is the heirloom – that is the desired experience. In
cultural production, the sustainable is relegated to the amateur, the
“craft.” But we wondered: can you produce high quality cultural
products using a sustainable model? Those were our basic goals. What
developed was a dinner party, where around 300 people come to a church
basement every couple of months. We ask for $10-20 donations at the
door to attend the dinner, although no one is turned away. Artists
propose projects over the course of the meal, and the guests select
one project to fund. We vote democratically. Whichever artists get
the most votes get a big bag of money with a dollar sign on it. We
ask them to come back to the next dinner and present how they used the
money.
FINISHING FUNDS provides media and new media artists with grants up to $2,500 to help with the completion of diverse and innovative moving-image and sonic art projects, and works for the Web and new technologies. Eligible forms include film and video as single or multiple channel presentation, computer based moving-imagery and sound works, installations and performances, interactive works and works for new technologies, DVD, multimedia and the Web. We also support new media, and interactive performance. Work must be surprising, creative and approach the various media as art forms; all genres are eligible, including experimental, narrative and documentary art works. Individual artists can apply directly to the program and do not need a sponsoring organization. Applicants must be residents of New York State; undergraduate students are not eligible. The application requires a project description, resume and support materials, including a sample of the proposed project. Selection is made by a peer review panel. About $25,000 is awarded each year. Announcement is made in early June.
"It's interesting that, as far as I am aware, no
contemporary artist has yet harnessed this extraordinary technology to
make a significant artwork. Of course, maybe I'm wrong and am missing
something great - do you know of any net-based art works that are
worth a look? Maybe you have made one (an artwork made specifically
for the medium, as opposed to a film such as the one above, which uses
the net only as a means of dissemination)? If you, like me, can't find
any net-based art of note, why do you think that is? Why, when there's
been such a boom in contemporary art around the world, has no artist
made the medium of the web his or her canvas? And if someone were to
use the net as a medium, as opposed to making an image, or a video, or
even an interactive Flash animation, what would the resulting art
look, or sound, or feel like?"
As with many things that are relatively new, there is a general lack
of awareness surrounding internet-based art: how its defined, how to find
it, how it operates, and so on. Internet art is also troubled by a
problem of perpetual discovery: while its history evolves, it is often
not elaborated, but instead rediscovered, again and again, by the critical establishment.
As the above comments by BBC's arts editor demonstrate, this moment of
discovery can be wonderful, but its also glaringly ignorant of an
important field that has been thriving for nearly two decades now.
Gompertz also lays claim to a rather inverted sense of how the boom
operates. He assumes that a boom in contemporary art would leverage
net art; on the contrary, a boom doesn't elevate practices that aren't
associated with high price-tags, it pushes them further to to the
margins. This is a situation that makes it even more urgent for
critics, curators and organizations to locate these practices, learn
about them, support them and bring them to the forefront. Its
unnecessary to tell this readership that the artist mentioned by
Gompertz, Celeste Boursier-Mourgenot, is only one of a countless range
of artists engaging with the participatory nature of the web. But, it
does raise a larger question: Perhaps one positive side of the bust is
that more critics might step back and look at work not (or not yet)
squarely within the art market.
While I won't single out any artists here, I suggest that Gompertz
spend some time looking at this website, and many others, like VVORK,
Turbulence or Furtherfield, that promote an incredible range of
internet-based art, as well as new methods through which artists are
collecting and promoting each others work. When looking, I hope he
will not try to find instances or reinforcements of Duchamp, but
rather be open to new kinds of practices. 2010 is a
very exciting moment in art, online and off, if you can see it.
By
Ceci Moss
on
Thursday, February 4th, 2010 at
12:00 pm
synchronized 3-6 single channel video sound installation. dimensions variable. duration: 12:00 minutes/endless loop
Tender Prey is a modular, synchronized 3 to 6 channel video and sound installation expansion of an earlier work "Organic
Urbanic" from 2002. Inspired by satellite images, urban plans, kaleidoscopic examinations and signal interceptions. It is a cortex
of an imagined city. Aerial videos are joined into science fiction panoramas, in-versed fields of digitalia and disquiet, scenarios of
urban out foldings forming metallic robotic ornamentations. Tel Aviv is the dirty digital city behind "Tender Prey". It is featured in ultrasonic transparency, amplified, duplicated and warped.
By
Ceci Moss
on
Thursday, February 4th, 2010 at
11:00 am
Still of Airshaft (to Piranesi)
Ana Maria Tavares is known for installations employing materials such as steel, glass and mirrors. Resembling architectural structures, her installations call to mind the artificial, emotionally vacuous atmosphere of airports, office buildings, and other forms of urban architecture. Through her re-deployment of industrial architectural materials, such materials lose their function, and viewers are subtly thrown off balance in their physical experience and sense of time. Recently, Tavares has been creating films in which steel columns connect with stairways running in all directions. By introducing reflections she renders the space in the films all the more complex. Airshaft (to Piranesi) (2008) examines the realities of human circulation through anonymous urban spaces as found all over the world. The video depicts a modern architectural space in the manner of the complex, labyrinthine expanses depicted by the 18th century Italian artist Piranesi, but wavering fluidly like a mirage. The chaos of Brazil’s enormous urban spaces is reflected here. Tavares’s videos produce an encounter with “somewhere” that is not quite “here” and make us aware of how unreal our reality can be.
Triple Canopy: The Medium Was Tedium Triple Canopy is an online magazine that explores how the Web informs
the experience of reading literature and viewing artworks. This
New Silent event, The Medium Was Tedium, examines how this move from
the exhibition space to the printed page has been subsequently
repeated by artists in relation to other media, such as television
programming and the Internet. Triple Canopy's editors will discuss
practices that traverse mediums and the media with artists Mel
Bochner, Daniel Bozhkov, and Erin Shirreff.
MediaSCAPES Program at SCI-Arc
Master of Design Research Degree in Architecture and Media Art
The MediaSCAPES Program supports research into contemporary practices of media, art and architecture. Student projects address interactive and symbiotic conceptions and environments at the intersection of virtual and physical space.
FCA is pleased to announce the recipients of its 2010 Grants to Artists program, ten unrestricted grants of $25,000 each. We are also pleased to announce the biennial John Cage Award, an unrestricted award of $40,000:
DANCE
Luciana Achugar
Miguel Gutierrez
Pam Tanowitz
MUSIC/SOUND
Luke Fowler
Okkyung Lee
THEATER/PERFORMANCE ART
Nature Theater of Oklahoma
Rabih Mroué
Contemporary performance videos on-demand, featuring Young Jean Lee's Theater Company, Reggie Watts, Jan Fabre, Tanja Liedtke, Diana Szeinblum, Allen Johnson and Temporary Distortion.
Performance and Interactive Media Arts (PIMA) at Brooklyn College
The M.F.A. in Performance and Interactive Media Arts is a cutting-edge graduate program in collaborative, experimental artistic production. PIMA provides students with theoretical and technical training and practical experience in the production of collaborative, multidisciplinary artworks presented in a performance setting.
