July 3, 2008
Posted by
Marisa Olson
on Thursday, July 3rd, 2008 at 10:55 am.
Initially, Elliott Malkin's new work, Graffiti for Butterflies, reads like a science fair project. One can just see the riveting subtitle, "Directing monarch butterflies to urban food sources along migratory routes in North America" taped-up in bold letters across the top of a trifold sign affixed with statistical charts and photographic evidence. In truth, this mostly internet-based project is a perfect spoof of the recent spate of R&D art experiments that saturate the web, performing rather than practicing science, even as it provides us with a series of informative links and nice photos of caterpillars and butterflies thriving in the wilds of midtown Manhattan. Malkin's big idea was to spraypaint printed decals of milkweed flowers (the food source of choice for Monarchs) with aerosol sunblock that reflects UV light, thus making it stand out to those creatures with "butterfly vision." The images are then to be placed remarkably close to the real thing they represent, in order to broadcast the signal (Malkin's got the techie language down pat) to the migratory creatures that they have arrived at a way station. He likens it to "the equivalent of a fast-food sign on a highway, advertising rest stops." A demo video, in simulated "butterfly vision," illustrates the process of creating these nouveau golden arches. It would be ironic if hordes of monarchs took the bait, as the same type of mimicry the artist invokes is a natural defense strategy often used by other species of butterflies hoping to masquerade as the poison creatures. So far, Malkin's only tested one "prototype," but it did manage to attract a butterfly who even colonized the potted milkweed with her own caterpillar eggs. Ultimately, he confesses to being more interested in distributing the idea than tagging the entire city himself. This shrugging-off of scientific responsibility -- a burden that tends to revolve around the affirmation of dominant paradigms -- in order to become his own open source way station for tagging instructions is totally in keeping with contemporary graffiti art (see, for example, Shepard Fairey and GRL). It will be interesting to see whether his concept takes on a migratory pattern of its own. - Marisa Olson
Link »
Reblog
Originally
from VVORK
at July 2, 2008, 17:01 , published by Ceci Moss
"Fragments from the Edge of Los Angeles (detail 1)", 2001,
Preliminary image for "The Triumph of Democracy", 2008,
![B5_EtherStudy_[Ze].jpg](http://www.vvork.com/wp-content/uploads/2008/07/B5_EtherStudy_[Ze].jpg)
"ether machine", 2007,
"www.automaticcity.com", 2007 by Benjamin Edwards.
Reblog
Originally
from e-flux shows :: rss
at July 3, 2008, 00:00 , published by Ceci Moss
Yves Netzhammer, Furniture of Proportions (preparatory sketch), 2008; Courtesy the artist and Galerie Anita Beckers, Frankfurt, Germany; Copyright 2008 Yves Netzhammer
San Francisco Museum of Modern Art
July 10 through October 5, 2008
Room for Thought pairs two computer-generated video installations by Swiss artists Alexander Hahn and Yves Netzhammer that reveal a fascination with internal landscapes of the mind. Hahn's single-channel, interactive video projection Luminous Point (2006) allows the viewer to take a self-guided tour of a virtual simulation of the artist's Manhattan apartment, using a remote control to navigate a gamelike labyrinth of spaces derived from digital manipulations of photographic and filmic records. Where Hahn's hybrid space incorporates images of the real world, Netzhammer presents a poetic world of pure invention. Premiering at SFMOMA, his new three-channel, site-specific installation Furniture of Proportions (2008) incorporates highly stylized wall drawings, animation, and sculptural objects to create an intricate spatial narrative.
Organized by Rudolf Frieling, SFMOMA's curator of media arts, the exhibition occupies adjacent galleries and represents two generations of artists who have consciously worked with the computer as a formal artistic tool and means of expression. Both Hahn and Netzhammer combine a variety of traditional media with computer techniques in order to articulate a deep concern with the histories of philosophy and art. The artists also share an interest in human thought processes and the interplay between external images in the world and internal images in the mind. Undertaken as an open-ended investigation, their art is concerned with transience and states of change, and deals in surrealistic effects, associative thinking, and temporal multiplicity.
Reblog
Originally
by Enrico from VernissageTV art tv
at July 2, 2008, 05:15 , published by Ceci Moss
In the context of the group show "Word Event"; at Kunsthalle Basel, artist André Avelãs installed his sound-installation "Untitled (Kunsthalle Basel)" consisting of used loudspeakers, amplifiers, record players and mixing consoles. The installation has been set up in different venues already, the first time in 2005 -- "Untitled (Rietveld)" -- and since then always changes a little bit. This video documents AAndré Avelãs performance on the occasion of the opening of the exhibition "Word Event" at Kunsthalle Basel. André Avelãs(born 1976 in Caldas da Raihna, Portugal, lives and works in Amsterdam) is part of DNK Amsterdam, a concert series for new live electronic and acoustic music. Kunsthalle Basel, June 28, 2008.
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Reblog
Originally
from Rhizome.org Announcements
, published by Ceci Moss
TODAY is a piece of generative design for mobile phones.
It's an application that visualizes personal mobile communication. It sits on the periphery of the machine, monitoring our connectivity through the number and type of calls we receive, subtly displaying them back to us, in the form of a generative graphic. Here, the visual result is a figurative and seemingly abstract picture -- the story of your day. Some days will be really colorful and wired, others quieter and more reflective, either way the resulting visuals will always be personal, unrepeatable and unique.
What lies at TODAY's core was the idea of using personal data as the basis for an aesthetic system, while providing individuals with a visual diary of their communication patterns.
It's an intimate piece that "lives" in your pocket.
It's freely distributed for Symbian phones at http://today.cada1.net
Credits:
A Project by CADA --
www.cada1.net
Idea and Design: Sofia Oliveira/Jared Hawkey
Symbian Programming: Heitor Ferreira
Site Developer: Damian Stewart
Second phase of development funded by: DGArtes, Ministerio Cultura, Portugal
Type →
work,
announcement
Genre →
tech
Keywords →
broadcast,
digital
Posted by
Tyler Coburn
on Tuesday, July 1st, 2008 at 2:40 pm.
"Private fears and shared desires" take the public stage for "Tarantula," a month-long film and video program projected on Europe's biggest LED wall, in Piazza del Duomo, Milan. In collaboration with MIA (Milano In Alto) and Fondazione Nicola Trussardi, which is dedicated to finding "new channels and strategies to distribute contemporary art in the city of Milan," curator Massimiliano Gioni has invited fifteen contemporary artists to screen works twice a day on a screen normally reserved for commercial advertising. Certain works build upon this strategy of intervention, like Pipilotti Rist's series of sixteen one-minute video segments, Open My Glade, originally commissioned by the Public Art Fund, in 2000, to air on the NBC Astrovision by Panasonic video screen in Times Square, New York. Other notables include the film component of Johanna Billing's You Don't Love Me Yet project, documenting the studio recording of Roky Erickson's eponymous 80s pop hit by more than twenty singers; Fiorucci Made Me Hardcore (1999), Mark Leckey's nostalgic chronicle of cross-sections of British dance culture from the 70s and 80s; and Dictio pii(2001), a parade of high-fashion outfits repurposed, by artist Marcus Schinwald, as disturbing fetish-objects. Like the Bob Dylan novel from which it takes its title, "Tarantula" presents rituals public and private, compulsive and fanciful, to show the ways "new rules and behaviors can transform life into a joyful carnival of exceptions." - Tyler Coburn
Image: Mark Leckey, Fiorucci Made Me Hardcore, 1999
Link »
Reblog
Originally
by Cliff Kuang from Delicious Ghost
at July 1, 2008, 09:04 , published by Ceci Moss
Work from digital artist Kari Altmann. More:
[CONTINUED]
Posted by
Marisa Olson
on Tuesday, July 1st, 2008 at 11:42 am.
To say that the internet is teeming with data or overflowing with information would be both an understatement and an almost unquantifiable fact, given the ever-shifting shape of the net. But even if the web's state of being is hard to pin down, artist Richard Wright is intrigued by the concrete ways it has contributed to the evolution of communication. In his upcoming exhibition, "How to Talk to Images," at London's HTTP Gallery, the artist presents new work resulting from his residency with HTTP founders Furtherfield.org that continues his exploration into the pictorial history of language. An established film and video artist, as well as a pedigreed new media practitioner and theorist, Wright's show makes a statement about the way that we use images to speak and our new habits of "searching" for, rather than truly seeing visual images. He's created a database of 50,000 random internet images in order to create two works that play with the communicative structure and users' expectations with regard to online searches. The Internet Speaks forces users to skip through the files one at a time, letting the material's statements come to the viewer, rather than allowing them to impose meaning. Meanwhile, The Mimeticon uses the same database but requires viewers to find images not by searching for keywords but by browsing by visual similarities. The latter is positioned as a Baroque search engine, invoking a time of decadent formal experimentation and mechanical development. The show runs July 4th-August 3rd and coincides with the release of a monograph on the artist's work as well as a poster featuring an essay by Wright, illustrated with typefaces marking the evolution of the western alphabet. While his thesis on searching versus seeing implies a new short-term memory on the part of web users, this show promises to be a memorable contribution to conversations about online communication. - Marisa Olson
Link »
Reblog
Originally
from Loreto Martin
, published by Ceci Moss
Photograph: Ray Tang/Rex Features (source)
Tate Britain Duveens Commission
2008: Martin Creed Work No. 850
Tate Britain Duveen Galleries
Tuesday 1 July -- Sunday 16 November 2008
A runner will speed through Tate Britain's dramatic neo-classical sculpture galleries, again and again, running as if their life depended on it, every day for the next four months.
http://www.tate.org.uk/britain/exhibitions/duveenscommission/default.shtm
Posted by
Rhizome
on Monday, June 30th, 2008 at 5:39 pm.
For those who were unable to attend the Net Aesthetics 2.0 panel at the New Museum on June 6th (or watch the webcast), we now have an MP3 of the talk available online. Over the past month, the panel has generated active (and heated) discussion on Rhizome's boards, on topics such as net art versioning, the "epic" in net art, surf blogs, and the definition of net art.
Big thanks to Billy Rennekamp for his help with the recording
Posted by
Ed Halter
on Monday, June 30th, 2008 at 2:49 pm.
Sex and teletext, e-commerce and elektronische tanzmusik collide in The Sound of eBay, the latest internet intervention (and a 2008 Rhizome Commission) from Ubermorgen.com, which generates unique low-fi electro tunes from individual users' eBay data. Visit the project's site, generously decorated with 8-bit teletext porn, and enter your (or anyone's) eBay moniker and an email; a specially-tailored mp3 arrives in your inbox in a matter of hours. According to Ubermorgen.com's own account, an invisible army of bots scours the World's Largest Online Marketplace (tm) to scrape data and bring it back to be transformed into music. How a given user's actual data corresponds to the structure and content of each tune is not evident to the listener, but relates to the eBay-Generator application's own idiosyncratic system of producing and processing hashsums from user-to-user transactions: more frequent eBay bidders may receive denser compositions, and two different songs created from the same username can differ. In the future, the creators of eBay-Generator plan to release the application under a GNU Public License. The Sound of eBay concludes a trilogy of works by Ubermorgen.com--otherwise known as the artists Lizvix and Hans Bernhard--including GWEI (Google Will Eat Itself), an economic ourouboros that generates money off Google text ads then uses the income to buy Google stock, and Amazon Noir, which exploited Amazon's "search inside" function to create pirated versions of full books. Unlike these latter acts of digital ju-jitsu, the parasitic Sound of eBay has a relatively benign relationship to its host organism. Celebrating with only partial irony the auction giant's peer-to-peer distributed capitalism, the Sound of eBay offers a way to shake one's booty to the hidden rhythms of electronic commerce. - Ed Halter
Ubermorgen.com, the Sound of Ebay "Visuals" (Screengrab), 2008
Link »
Reblog
Originally
by bexta from Eyebeam News
, published by Ceci Moss
Interactivos?: Better Than the Real Thing
Dates: June 27 -- July 12, 12 -- 6PM
Location: Eyebeam, 540 W. 21st St., NYC
Cost: Free
http://www.eyebeam.org/learning/learning.php?page=interactivos
Stay tuned for the official Interactivos? project website launch!
Join Eyebeam daily between June 27 and July 12, from 12 -- 6PM to witness the transformation of Eyebeam's main space into a lab for the creation of interactive art projects.
From an open-call, Eyebeam selected nine new projects to be realized by artists from around the world, with the collaboration of Eyebeam resident artists and fellows and over two dozen very skilled artists, engineers, musicians, programmers, designers, and hackers (also selected from an open call). The projects investigate interactivity in all of its forms, and usually feature a mix of hardware tinkering, software coding, and conceptual hacking.
During the intensive two-week Interactivos? workshop, the lab will be open and the public are welcome to drop in, see the artists and collaborators at work, and participate in discussions, critiques, and other social activities investigating interactivity in the context of this year's Interactivos? theme: the blurry line between the real and the fake. A full schedule of events will follow. On July 12 the lab will be transformed into an exhibition, Double Take, which will be on view through August 9.
Interactivos? was initiated two years ago by the Medialab-Prado program and the Madrid City Council. This is the first time it has taken place outside Spain.
The full list of projects can be found here:
http://www.eyebeam.org/learning/learning.php?page=interactivos
and an additional Interactivos? project website will be launched during the next two weeks.
Reblog
Originally
by Redazione Digicult from Rhizome.org Recent Discuss Posts
, published by Ceci Moss
Digicult presents:
DIGIMAG 35 / JUNE 2008
http://www.digicult.it/digimag_eng/index.asp
The english version of Digimag, Digicult monthly e-magazine of digital culture and electronic arts, is available online
You can read all the past articles and issues in the Archive section here:
http://www.digicult.it/en/Archive/
....................................
[INTERVIEWS]:
- MARC GARRET & RUTH CATLOW by Marco Mancuso
- THEODORE WATSON - by Marco Mancuso
- MARIANNE WEEMS - by Annamaria Monteverdi
- BORIS DEBACKERE - by Lucrezia Cippitelli
- ANDERS WEBERG - by Valentina Tanni
- KOAN01+OOTCHIO - by Giulia Simi
[REPORTS]:
- SONAR 2008 - by Alessandro Massobrio
- OFFF LISBONA - by Barbara Sansone
- TTV FESTIVAL - by Silvia Scaravaggi
- MULTIVERSITY - by Marco Baravalle
- DEGRADARTE - by Salvatore Iaconesi and Oriana Persico
[FEATURING]:
- CHARLEMAGNE PALESTINE IN MILAN - by Alessio Galbiati
- THE LAST SUPPER BY PETER GREENAWAY - by Claudia D'Alonzo
- A SHOW ABOUT FRIENDSHIP - by Massimo Schiavoni
[THEMES]:
- WE ARE NOT ALONE - PART 2 - by Salvatore Iaconesi and Oriana Persico
- L'INVISIBILE NELLA SCIENZA - by Luigi Ghezzi
- THE GRIEFERS - by Monica Ponzini
[COVER]:
- Marco Mancuso - Bit International Exhibition - Zkm Karlsruhe
[TRANSLATIONS]:
- Virginia Cavalletti, Francesca Magnaghi, Ornella Pesenti, Chiara Resmini
....................................
DIGICULT is a cultural project involved in digital culture and electronic arts. The DIGICULT project is directed by Marco Mancuso and based on the active participation of 40 professional people about, who represent a wide Italian network of journalists, curators, artists and critics working in the field of electronic culture and digital art. And on a multitude of updated strategies around new media communication, web 2.0 and networking activities. Translated in english, DIGICULT is today a web portal updated daily with news and , but it's also the editor of the monthly magazine DIGIMAG, discussing with a critic and journalistic approach, about net art, hacktivism, video art, electronica, audio video, interaction design, artificial intelligence, new media, software art, performing art.
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Type →
announcement
Genre →
tech
Keywords →
digital
Posted by
Marisa Olson
on Friday, June 27th, 2008 at 1:27 pm.
The word "systems" is often used to describe the work of Jeanne van Heeswijki, and now the Netherlands-based artist has released a book by that title. In the ongoing interest of exploring the relationship between human and non-human systems, van Heeswijk's projects are worth a closer look. Often working site-specifically, on the basis of residencies, her modus operandi is to enter a community and invite its inhabitants to speak for themselves. This tactic has played-out in a number of ways ranging from inviting other artists to occupy her studio to inviting local schoolchildren to comment publicly on their harsh living environment. She describes this work as making "cultural models for public spaces," begging the question of what defines both these models and these spaces. A few of her projects have been "controversial," if only because these cultural models seems to call for sites of contestation, debate, and reconciliation. It's clear that the notion of an easy route does not compute in Heeswijk's approach to her practice, and -- usually working in collaboration with others -- she often eschews personal credit for the scenarios she concocts in order to place the emphasis on the intended beneficiaries of these designed encounters. But this lack of glory-seeking shouldn't be confused with a laissez-faire attitude. In truth, she belongs to a new generation of artists working to retool the relationship between art, activism, and public participation. It is the vocabulary of social codes and game-playing that regulates the artist's work and brings it into conversation with other network culture-based performances. Like many activist tomes, Heeswijk's new book functions much like a cookbook offering recipes for the assembly of such models. It is also partly a monograph on her previous work, which one can imagine does not lend itself to traditional documentation, and even more significantly, a manifesto on the importance of experimentation, social interaction, and the freedom to act out. - Marisa Olson
Link »
Reblog
Originally
from Rhizome.org Announcements
, published by Ceci Moss
An international competition for electro-acoustic music and video
The Leonor Hirsch Award is a new competition open to living artists of all ages and nationalities which aims to promote the creation of avant-garde culture through music and image. Submissions will be mixed media works of electro-acoustic music with a visual component in video. The Award is administered by the Bunge y Born Foundation. A complete list of rules and requirements can be found at
www.fundacionbyb.org/ingles/
The award will be a single, non-divisible prize of $10,000. The winner will be selected from three finalists, whose works will all be performed at a closing concert. The costs of transportation to the city of Buenos Aires will be covered for the performing finalists.
The three finalist works will be announced on September 22, 2008.
Deadline: July 15, 2008 (postmark date)*
*NOTE: Extended deadline! The previous deadline was July 1.
Participation is free of charge. The composers entering must only cover the relevant postage costs.
The final winner will be announced on October 22 at a ceremony held before the final Leonor Hirsch Award Concert, in Buenos Aires, Argentina.
The members of the Jury of the Leonor Hirsch Award are Gerald Bennett, Francisco Kropfl, and Nina Colosi.
For further details about the submission rules and registration form, please consult
http://www.fundacionbyb.org/ingles/
Type →
opportunity,
announcement
Genre →
work
Keywords →
audio
Reblog
Originally
from ***/*
at June 27, 2008, 04:42 , published by Ceci Moss
no title
Image of a work by Berlin-based art group Aids-3D
Posted by
Ceci Moss
on Friday, June 27th, 2008 at 12:44 pm.
Four Thousand and Seven Horizons (2007) by Lizzie Hughes
From the artist's statement:
4,007 photographic images (one for each ten Kilometers of the earth's circumference) were sourced from photo sharing websites. The images, largely holiday snaps, were cropped to exclude any geographical, architectural or other reference points and the resulting images re-scaled (so that the horizon ran directly through the center of the frame) before being ordered on a time-line according to color. With the images being sourced from unknown locations across the globe, the work aims to document an imaginary line, which ultimately describes the curvature of the earth.
Posted by
Marisa Olson
on Thursday, June 26th, 2008 at 2:52 pm.
What is one to do with all the world's magnetic tape, now doomed for dustbins and landfills as digital files push out the slinky black tendrils that preceded them in the family tree of recording media? Audio cassettes, VHS tapes, and those ancient vinyl records that came before them were the medium of choice for entire epochs of cultural production and, as such, have stored not only many of the world's most important creative moments, but also a large percentage of German artist Gregor Hildebrandt's personal nostalgia-fodder. Interestingly, it is preservationists and conservators who persist in using these materials to store works, and Hildebrandt's own practice certainly crosses similar territory by serving as a sort of memory repository. The artist uses old tapes to create portraits, sculptures, and other installations. His "magnetic tape on photocopy" pieces (such as Als würde ein Engel kommen (Cure), 2007) force a juxtaposition between two forms known for rendering low-fidelity or "lossy" copies, while creating a rupture, like a trickle of black blood, down the otherwise seamless faces of perished movie starlets and forgotten supermodels. For Schallplattensäule (2007), he built a tall stack of compression-molded vinyl records, a totem whose invisible icons are indistinguishable from the matter on which their aural likeness are encoded. Many of his works consist of cassette tapes, uncoiled and stretched out across canvas, with letters or shapes often cut out into negative space images seemingly volunteering for battle in a duel against "ancient" photography for the prize of best black and white image format. In Kassettenschallplatte (2003) Hildebrandt made the bold move of melting a cassette into the form of a vinyl record, and the result is a gloppy, rust-colored monument to the failure of media to cross-breed. Check out more of his work online for evidence that tape will never die, so long as artists like Hildebrandt continue to have a say. - Marisa Olson
Image: Gregor Hildebrandt, The Carny N.C. (San Michele), 2004
Link »
Reblog
Originally
by M.River from MTAA Reference Resource
at June 22, 2008, 13:22 , published by Ceci Moss
xandxx
10 netartworks I was interested in around 10 years ago and 10 from the last few years.
Note - This is not a "best of" list. It is just some works that I think about for time to time. I've added a MTAA work in the netart_x section only because it was done with Eryk Salvaggio and his website from that time (one38.org), like so many works from that time, is gone. Seeing as I've left off a good many netartworks that I like, I may (or may not) change the list from time to time. I think of xandxx as an netartwork. I hope to live long enough to add a netart_xxx section in 2018 on the longest day of the year.
Nice list from Mike/MTAA compiling recent and decade-old netart projects.
