A sale is organized on Artprice dedicated to Valéry Grancher internet and
This is a a great opportunity to acquire the very famous google painting like “Googlewith miro logo”….
A sale is organized on Artprice dedicated to Valéry Grancher internet and
This is a a great opportunity to acquire the very famous google painting like “Googlewith miro logo”….
Sabrina Raaf’s mechanical and robotic sculptures, installations, electronic wearables, and digitally manipulated photographs are all speculative fictions. They anticipate a not-so-distant futuristic world in which smart drugs, genetic engineering, experiments with anti-gravity, and climate change have radically altered human perceptions of time, space, nature, and identity. In ‘Icelandic Rift,’ a kinetic sculptural installation representing a vision of agricultural and industrial activity in a zero-gravity environment, Raaf connects four starkly engineered yet sensuously biomorphic architectural structures floating above the floor in a system of artificial ‘islands.’ Inspired by the seemingly extraterrestrial landscapes of Iceland, this synthetic ecosystem contains reservoirs of dense black Ferrofluid (liquid magnet) made to spin, rise, twitch, or travel by electronically powered hard magnets and electromagnets that symbolize the systems’ energy sources. Vaguely familia! r yet unnervingly alien, the scenarios envisioned in Raaf’s work offer a sense of the future that’s paradoxically comforting, marvelous, and beautiful, yet fraught with incipient dread. ‘Icelandic Rift’ and other projects are currently on view, through June 3, in ‘rift –> ad-rift,’ the artist’s solo exhibition at Chicago’s Wendy Cooper Gallery.
Valéry Grancher via Marcia Tanner on rhizome news
The character of Claire Healy’s and Sean Cordeiro’s installations is
irritatingly methodical. Their meticulous deconstructions mean that they
almost resemble art-economical experiments in a laboratory, so contravening
the dogma that fine art cannot be arbitrarily reproduced. For example, Healy
and Cordeiro had already devised the original pattern for their joint
project in 2003, when they dismantled a wooden house from a Sydney suburb
into equal-sized pieces and piled these up until they reached the ceiling of
the exhibition room.
Their material - a demolished house - thus experienced a rapid rise in value. The artistic act of destruction made the dilapidated house into an artefact; only after its destruction could it be accredited with the autonomy suitable for the art business.
The Berlin installation “flatpack” transfers this procedure to a more mobile home. From a tranquil suburb inhabited by the middle classes, west of the Havel, they transported a recently occupied caravan into Studio 2 of the Künstlerhaus. After the caravan had been dismantled into pieces, all exactly the same size, they delivered it door to door, neatly wrapped in transport film and laid on palettes. The vehicle, which was built in the 60s, is a symbol of the German dream of a mobile living-room idyll; here it is transposed into the cool world of globalised packaging and container norms. Even more importantly, an aspect of the mobile “heimat” ideal is transformed into a work of art, employing sober automatism.
flatpack (zusammen mit/together with Sean Cordeiro), Studio 2,
May 12th – May 28th 2008,
Opening: Thursday, 11. May 2008, 19 h
Costume-Party: Colony & Native
- an exhibition by the Video Forum -
Neuer Berliner Kunstverein
10115 Berlin, Germany
Phone: 49-30-280 70 20
Fax: 49-30-280 70 19
Opening: Friday, 12th May 2008, 7 pm
Duration: 13th May – 25th June 2008
Tue-Fr 12-6 pm, Sat Sun 2-6 pm
Curator: Kathrin Becker, NBK
The solo exhibition by Maryam Jafri at the Neuer Berliner Kunstverein focuses on the historical imagination and its role in shaping contemporary subjectivities. It consists of two parts, a three screen video installation titled Costume Party and Siege of Khartoum,1884, a photo-collage installation.
Costume Party centres on 18 characters attending a costume party dressed from defining periods of Western history from antiquity to the present, including a crusader, monk and a cowboy. Spread over three screens with one common soundtrack, the costumes and stage like setting present a series of narrative tableaux that seem to combine and recycle elements of myth, history, underground film and TV trash. By interrogating the norms and values that give rise to national and cultural identities, Costume Party reveals the dialectical effort to construct a certain history from the presumption of a certain community, and then employ this constructed history to argue for the existence of an essential commonality.
The second part of the exhibition traces the narratives of Empire at work in the present moment. The newly developed installation Siege of Khartoum,1884, appropriates iconic images from contemporary world events and combines them with excerpts of archival news texts from earlier points in history. The 29 photo-collage posters map the narrative arc of earlier colonial wars of conquest and its resurgence in the contemporary Iraq war and the War on Terror.
Maryam Jafri (b. 1972, Pakistan) is an artist based in Copenhagen and New York. Her work often focuses on the role of language and memory in the construction of identity, from the individual to the national. Her exhibition at NBK is her first major solo exhibition in a German institution.
To accompany the exhibition, Revolver-Verlag is publishing a bilingual (German/English) monograph on Maryam Jafri ed. by Kathrin Becker/NBK and including essays by Kathrin Becker, Sabeth Buchmann and Michael Eng.
In the 1960s, artists working with video and television had revolution on their mind. As Nam June Paik wrote in the first issue of the publication Radical Software, ‘If revolution meant for Russians in 1920s electrification… then the revolution in the 60s means electronicification… mind to mind… planet to planet…’ This utopian spirit, this belief that broadcast technology could be used as a tool to affect social change has returned repeatedly in decades since. ‘Flipped Chips’ is an evening of video curated by prolific artist duo LoVid, to be held at Ocularis, in Brooklyn, tonight. The program pairs early video artists, like Paik, Dan Sandin, and Steina and Woody Vasulka, who built their own audio-visual technologies, with a younger generation of artists doing the same. These include noTendo, Cory Arcangel, Paul Slocum, Karl Klomp, and collective Paper Rad. The juxtaposition highlights a difference in their two respective eras. Unlike the early generation for whom video was entirely new, these younger artists were born with TV and socialized by the net. Variously hacked together or carefully programmed, kitschy or politicized, their works speak to a more enmeshed relationship with mainstream media. Discern the generational difference for yourself: In what form does this group of DIY tech pioneers carry on the early flame of media revolution? - Lauren Cornell
Wu Hung curates Beijing-based Miao Xiaochun’s newest photography and video, which reexamine Michelangelo’s "Last Judgment" using digital technology.
Miao Xiaochun has generated a 3-D model of his body and substituted his image for each of the 400 figures in Michelangelo’s painting. Using software to manipulate the model into different positions, he then integrated these 3-D figures into a virtual space based on Michelangelo’s composition. He could then travel within the painting like a tourist, taking photos as he went along, from within the pictorial frame as well as from without. The artist worked with three assistants for six months to create these works.
Wu Hung writes, "What do the figures in Michelangelo’s Last Judgement - not only Christ and the Virgin but also the angels, the saints, the Damned, and the Blessed - see at this fatal moment? — What do they behold within the vast, mythical space in the fresco amidst a cosmic movement that is simultaneously orderly and chaotic? To Miao Xiaochun, to answer these questions means to enter the painting and to assume the varied gazes of the painted figures."
Miao Xiaochun’s use of technology provokes new ways of seeing. Viewing the icon from inside and outside the picture frame raises such fundamental questions as "What lies beyond and after the Last Judgment?" and "How is the importance of main characters affected when rotating the pictorial space makes their positions peripheral?" Director Julie Walsh remarks: "the sheer scale of Miao Xiaochun’s reinterpretation is mind-boggling. The physical reality of these photos is monumental. Miao Xiaochun has pioneered a new way of body-surfing through cyberspace in search of meaning."
Mr. Miao’s photographs have been seen in museums and biennials around the world including solo shows at the Beijing Art Museum and Shanghai Art Museum, the Musée CRAC (France), The Museum of Contemporary Art (Taiwan), and the Ludwig Museum (Germany). His photography is featured in the "Between Past and Future: New Photography and Video from China" show that started at the International Center for Photography and Asia Society (New York), and traveled to Chicago, London’s Victoria and Albert Museum, and other cities. He was also featured in the 2005 "Mahjong" exhibition of the Uli Sigg collection (Kunstmuseum, Bern).
Wu Hung is Professor and Director, Center for the Art of East Asia, at the University of Chicago. He is chief curator of the Gwangju Bienniale 2008 and curator of "Between Past and Future: New Photography and Video from China." He is a frequent curator of Walsh Gallery shows.
RAP (Robotic Action Painter), designed by Leonel Moura (with IdMind) for Museum or long exhibition displays, is completely autonomous painting robot that need very little assistance and maintenance.
RAP creates its own paintings based on an artificial intelligence algorithm, decides when the work is ready and signs in the right bottom corner with its distinctive signature.
The algorithm combines initial randomness, positive feedback and a positive/negative increment of ‘color as pheromone’ mechanism based on a grid of nine RGB sensors.
RAP and ArtSBot
Two years ago, Moura and Henrique Garcia Pereira developed unmanned painting-vehicules, each supporting two color marker pens. At the beginning they move on the white canvas in an indifferent manner imprinting here and there small ink dots. As these casual strokes meet to form small patches, the robots become more active. When colour is recognized, they choose the pen corresponding to the same shade and reinforce it. The excitement grows and soon forms emerge filling the canvas. At a given moment, determined by his sense of rightness, the human partner decides to put an end to robots’ activity.
MIT’s students Jessica Banks and Daniel Paluska have also worked on a robot arm and a computer able to make portraits.
“The robot shoulder and elbow inside the booth holds LEDS in its “hand.” The arm sits about three feet away from a Polaroid camera that was modified so its shutter can remain open for an arbitrary amount of time. When the robot ‘draws’ in the air in front of the camera, light traces are recorded on the long-exposure film.”
Robotlab’s Autoportrait robot is given a pen to draw a human portrait. With both technical ability and the capability to recognize the characteristics of a human face, the robot hand forms his own style. After the drawing process the robot wipes out the drawing by its own hand (more images).
Jonah Brucker-Cohen’s Drawbot is a drawing system that anyone can use without having to learn electronics. The bot mixes magic markers with weighted motors and plastic cups. When the cups vibrate, they draw circles and lines depending on their overall weight and power.
Via networked_performance, MIT news office, artbots
Hybrid Muscle was both a work and exhibition space, built in Chiang Maï in Thaïland, that would generate its own electricity and thus be “unplugged” from the power grid.
The engine was driven by the muscle power of an albino Buffalo. The buffalo worked a few hours a day to lift a steel counterweight. Once freed the buffalo would lounge around the rice field and the mechanical energy stored was turned into electrical energy to power ten light bulbs, laptops, mobile phones.
Commissioned in 2002 to R&Sie architects who worked on the project with Philippe Parreno and Rirkrit Tiravanija.
See also R&Sie architecture’s project for the future Bangkok Art Museum that feeds of the city’s pollution and (Un)Plug Building, a concept of building that gains its energy from the sun
A few days ago I announced this blog the publication of the DVD
“Shiwiars” regarding my expedition in Deep Amazonia for my solo show
at the Palais de Tokyo in Paris.
This DVD is published by Onestarpress:
Today I have the pleasure to share a deep and cool moment in the amzonian rainforest sith this sample from this DVD…
Valéry Grancher via the shiwiars project
I have talked several times about Miltos Manetas and the Neen
movement he has founded now quite 4 years ago. This scene where was
born some neenstar like Mai Ueda or
Rafael Rozendaal and has been the origine of some event which
happened in London and some others city in the world.
To give you an idea about this event, you will find hereafter tow movies who are very well down and are showing the neen atmosphere:
A movie by Luuk Bouwman and Miltos Manetas. 2004
Filmed during NeenToday.
|NeenDay in London,
A movie by Luuk Bouwman and Miltos Manetas. 2005
Filmed during the NeenDay at Sketch in London
Valéry Grancher via Miltos Manetas
This book discusses projects and research completed in the framework of the Readme 100 Temporary Software Art Factory, which took place in Dortmund in November 2005 and was co-organized by Hartware MedienKunstVerein. It deals with the topic of production as it relates to software, software art and software cultures. Thus, it focuses not only on software as a product itself, but also on the experiment of its production through methods including outsourcing, use of open source solutions and self-production…
Topics addressed include economies of arts, desire and openness, harmony of markets, the unmarketable, reverse outsourcing, resistant mapping and others. The result is a multi-faceted collection of project descriptions, illustrations, research texts and features relating to the theme of software art production.
Authors include: Amy Alexander, Inke Arns, Christophe Bruno, Javier Candeira, Yves Degoyon, Elpueblodechina, Olga Goriunova, Francis Hunger, Sven Konig, Eric Londaits, Alessandro Ludovico, Ilia Malinovsky, Alex McLean, Special guest, Julian Rohrhuber, Alexei Shulgin, Leonardo Solaas, Mitchell Whitelaw, Renate Wieser.
Others, please, order it through your local book dealer using the
Readme 100. Temporary Software Art Factory
ed. by Olga Goriunova
paperback / 168 pages
published by BoD GmbH, Norderstedt
English edition / ISBN 3833443693 / euro 12
Akureyri Art Museum, Iceland
Opening: Saturday, May 6 2008, 15.00
Duration: May 7 – June 25 2008
HOMESICK – Act I participating artists: Guy Ben-Ner (Israel), Chantal Michel (Switzerland), Nevin Aladag (Turkey), Katrin Sigurðardóttir (Iceland), Haraldur Jónsson (Iceland), Ólafur Arni Ólafsson & Libia Pérez de Silles Castro (Iceland/Spain)
The exhibition in Akureri forms the starting point of the HOMESICK
Project, a series of exhibitions in co-operation with the CIA.IS – the
Center for Icelandic Art / Akureyri Art Museum (Iceland), Platform Garanti
Contemporary Art Center Istanbul (Turkey) and the Center for Contemporary
Homesickness is a term used in a number of languages to express illness, pain or a longing for one’s distant home. Homesickness is a concrete feeling or a romantic term. It is childish, antiquated and yet current and relevant since it touches on the question of one’s own (individual or collective, ethnic or cultural) identity. The question of what ‘home’ can signify in times of globalised societies, which leads on to the question of what is signified by ‘homesickness’, can be put both concretely and metaphorically. The question can be grasped as an approach both towards the subjective phenomenon of people yearning for a sense of belonging and towards a cultural or ethnic group’s collective pursuit of identity.
It was also its assonant double entendre that caused HOMESICK to be chosen as the laconic title of the exhibition project in which the desire to leave home is likewise expressed: to be sick of home. The globalised world economy demands modern nomadism from the individual; the home becomes a claustrophobic nightmare, escape represents freedom.
The HOMESICK Project will vary the theme at its four exhibition stations in 2008/2007. With Turkey, Israel, Switzerland and Iceland the project concentrates on four countries located on the outer fringe of the European Union. The project is dealt with before a background of quite diverse historical and current processes. It begins in Iceland before undergoing further development for the subsequent stations of Istanbul (Platform Garanti, December 2008), Tel Aviv (Center for Contemporary Art, spring 2007) and Switzerland (summer 2007).
The artists invited to HOMESICK – Act I approach the subject field both
in a subjective-emotional and in an intellectual or culturally theoretical
manner. The works of the three Icelandic positions correspond to those of
the three guest artists. Directly or indirectly they ask the viewers to
question his or her own moods.
Guy Ben-Ner (Israel, born in 1969) represented Israel at the Biennale in 2005 in Venice and currently lives in New York. His own four walls often provide the setting and he or his own family are the protagonists of his metaphoric video works.
Nevin Aladag (Turkey, born in 1972) lives in Berlin. The work she will present here reflects the search of young Turks living in Germany for an identity of their own – a search that is strongly expressed in music and dance. Chantal Michel (Switzerland, born in 1968) enters alien private spheres for her performances, videos and staged photography. The nature of her physical presence is a threat to the intimacy of the home.
Haraldur Jónsson (Iceland, born 1961) targets subjective perception. His works, which he calls psychosomatic sculptures, focus directly on the viewer, confronting him/her physically and intellectually with the materialisation of emotional sensations.
Home as a site and a concept is one of the central themes present in the works by Katrin Sigurðardóttir (Iceland, born in 1967). The artist’s signature use of miniature models is often used to explore the ways in which the experience of one place is entangled in the memory of other places.
Ólafur Arni Ólafsson (Iceland, born in 1973) & Libia Pérez de Silles Castro (Spain, born in 1971) have been working as a team since 1996, occupying public spaces with their installations. Their socially critical approach touches on socio-political themes and seeks to involve the visitor through active participation.
A catalogue with articles by Hjálmar Sveinnson and Christian Schoen is published for the exhibition.
HOMESICK is initiated by the CIA.IS - Center for Icelandic Art in co-operation with Akureyri Art Museum (Iceland), Platform Garanti Contemporary Art Center Istanbul (Turkey) and the Center for Contemporary Art Tel Aviv (Israel).
Valéry Grancher via Center for icelandic art
Featuring works and concepts by:
Andreas Angelidakis, architect (Greece/USA), Boyinstatic, composer,(USA)Tobias Bernstrup, visual artist/pop star, (Sweden), Luuk Bouwman, cinema director, (Netherlands), Marco Cadioli, Internet reporter, (Italy), Mike Calvert, designer, (USA) Carbonated Jazz, visual artist, (USA) John White C. (John White Cerasulo), visual artist, (USA) David David, visual artist,(UK) Paolo di Landro, fashion designer, (Italy), Deconcept (Geoff Stearns), , software developer, (USA) Essetesse, composer, (USA) Experimental Jetset, graphic designers, (Netherlands), Joel Fox, magicrobot.org, visual artist, (USA) Marc Kremers, visual artist, (UK) Benjamin Loya, visual artist, (France) Miltos Manetas, visual artist, (Greece/USA) Rob Montgomery, robertmontgomery.org, visual artist, (UK) Angelo Plessas, visual artist, (Greece/USA) Dusty Puree, Internet creator, (USA) Rafaël Rozendaal, visual artist, (Netherlands) Steven Schkolne, visual artist, (USA) Scott Sonna Snibbe, visual artist, (USA), Soda, multimedia creators, (UK) Nikola Tosic, visual artist, (Serbia) Mark Tranmer (Gnac), music composer, (UK) Aki Tsuyuko, music composer, (Japan), Gaspard Yurkevich, fashion designer, (France) Mai Ueda, visual artist, (Japan/USA) Priscilla Vaccari visual artist,(Italy)
Boiler Magazine, (Italy) Purple Fashion, (France) Rodeo, (Italy), Thisisamagazine (Italy) Textfield, (USA)
William Gibson, writer, (USA), Pierluigi Casolari, writer (Italy), Vito Campaneli, writer (Italy), Giacinto Di Pietrantonio, curator (Italy) Peter Lunenfeld, writer, (USA) Lev Manovich, manovich.net, writer, (USA) Nina Vagic, curator, (Italy), Olivier Zahm, writer, (France).
Photo Credits / Referenze fotografiche © Todd Eberle © Elisa Leaci © Armin Linke © Isabella Rozendaal
Graphic Design / Progetto grafico Angelo Plessas, Rafaël Rozendaal
Graphic Design Neen Manifesto / Grafica Manifesto Neen Experimental Jetset
Editing and Editorial Coordination / Redazione e coordinamento editoriale Federica Cimatti
Layout / Impaginazione Alessandra Mancini
Translations / Traduzioni Vito Campanelli, Fabio Paracchini
Produced by Galleria Pack, Milan, on the occasion of the SuperNeen show Prodotto dalla Galleria Pack, Milano, in occasione della mostra SuperNeen, March 7 – April 22, 2008 / 7 marzo - 22 aprile 2008
Edizioni Charta via della Moscova, 27 20121 Milan Tel. +39-026598098/026598200 Fax +39-026598577
Valéry Grancher via Miltos Manetas
A digital sacrilege: as described in boingboing here is the American national anthem sung in Morse Code (MP3) and binary.
If the Spanish-language “Nuestro Himno” and the 1919 “Star Spanglish Banner” pissed you off, better not listen to this rendition of the American national anthem — “sung” in Morse Code. And if the nerdy act of sacrilege weren’t bad enough, the fellow who created this had the nerve to encode in International Morse, instead of American. Crypto-commies!
Link to sound file (804 KB MP3, duration: 01:17).
Update: As a special favor to our robot-overlord readers, Sean Bonner has generously translated the National Anthem into binary code. Here are the first two bars:
01001111 01101000 00100000 01110011 01100001 01111001 00100000 01100011 01100001 01101110 00100000 01111001 01101111 01110101 00100000 01110011 01100101 01100101 00100000 01100010 01111001 00100000 01110100 01101000 01100101 00100000 01100100 01100001 01110111 01101110 00100111 01110011 00100000 01100101 01100001 01110010 01101100 01111001 00100000 01101100 01101001 01100111 01101000 01110100 00001101 00001010
also in boingboing a contest for remix of the Internationale
Finally, here is a special gift for our french public:
Allons ! Enfants de la Patrie ! Le jour de gloire est arrivé ! Contre nous de la tyrannie, L’étendard sanglant est levé ! (Bis) Entendez-vous dans les campagnes Mugir ces féroces soldats ? Ils viennent jusque dans vos bras Égorger vos fils, vos compagnes. Aux armes, citoyens ! Etc.
01000001 01101100 01101100 01101111 01101110 01110011 00100000 00100001 00100000 01000101 01101110 01100110 01100001 01101110 01110100 01110011 00100000 01100100 01100101 00100000 01101100 01100001 00100000 01010000 01100001 01110100 01110010 01101001 01100101 00100000 00100001 00001101 00001010 00001101 00001010 01001100 01100101 00100000 01101010 01101111 01110101 01110010 00100000 01100100 01100101 00100000 01100111 01101100 01101111 01101001 01110010 01100101 00100000 01100101 01110011 01110100 00100000 01100001 01110010 01110010 01101001 01110110 11101001 00100000 00100001 00001101 00001010 00001101 00001010 01000011 01101111 01101110 01110100 01110010 01100101 00100000 01101110 01101111 01110101 01110011 00100000 01100100 01100101 00100000 01101100 01100001 00100000 01110100 01111001 01110010 01100001 01101110 01101110 01101001 01100101 00101100 00001101 00001010 00001101 00001010 01001100 00100111 11101001 01110100 01100101 01101110 01100100 01100001 01110010 01100100 00100000 01110011 01100001 01101110 01100111 01101100 01100001 01101110 01110100 00100000 01100101 01110011 01110100 00100000 01101100 01100101 01110110 11101001 00100000 00100001 00100000 00101000 01000010 01101001 01110011 00101001 00001101 00001010 00001101 00001010 01000101 01101110 01110100 01100101 01101110 01100100 01100101 01111010 00101101 01110110 01101111 01110101 01110011 00100000 01100100 01100001 01101110 01110011 00100000 01101100 01100101 01110011 00100000 01100011 01100001 01101101 01110000 01100001 01100111 01101110 01100101 01110011 00001101 00001010 00001101 00001010 01001101 01110101 01100111 01101001 01110010 00100000 01100011 01100101 01110011 00100000 01100110 11101001 01110010 01101111 01100011 01100101 01110011 00100000 01110011 01101111 01101100 01100100 01100001 01110100 01110011 00100000 00111111 00001101 00001010 00001101 00001010 01001001 01101100 01110011 00100000 01110110 01101001 01100101 01101110 01101110 01100101 01101110 01110100 00100000 01101010 01110101 01110011 01110001 01110101 01100101 00100000 01100100 01100001 01101110 01110011 00100000 01110110 01101111 01110011 00100000 01100010 01110010 01100001 01110011 00001101 00001010 00001101 00001010 11001001 01100111 01101111 01110010 01100111 01100101 01110010 00100000 01110110 01101111 01110011 00100000 01100110 01101001 01101100 01110011 00101100 00100000 01110110 01101111 01110011 00100000 01100011 01101111 01101101 01110000 01100001 01100111 01101110 01100101 01110011 00101110 00001101 00001010 00001101 00001010 01000001 01110101 01111000 00100000 01100001 01110010 01101101 01100101 01110011 00101100 00100000 01100011 01101001 01110100 01101111 01111001 01100101 01101110 01110011 00100000 00100001 00100000 01000101 01110100 01100011 00101110 00001101 00001010 00001101 00001010
Inspired also by the one million dollars project, Miltos Manetas has conceived a new project called “Contemporary art pixels” where you can purchase pixels (1 $) only for contemporary art !!!
Inspired by the current pixel advertising craze, two students at the International Film School in Wales are asking people to donate money to fund their first feature movie.
In return, those who donate £3 or more will receive a screen credit as executive producer.
The students aim at raising a million dollars by involving thousands of sponsors. And while they are at it, they also hope to get in the book of Guinness World Records for the movie with the longest list of credits.
Marseilles-based artist Mathieu Briand makes installations that use light, video, sound, and other media to let viewers destabilize and manipulate their own perceptions. His stylish works adopt the sleek, cold, and ambiguously menacing look of ‘2001: A Space Odyssey’ and other dystopian science fiction fables of that era. Briand’s first U.S. solo show recently opened at Los Angeles’ Redcat gallery, and its title, ‘Ubiq: A Mental Odyssey’ references both the Kubrick film and ‘Ubik,’ the Philip K. Dick classic about telepathy, unstable realities, and an elusive cure-all product. On view through June 18, the exhibition includes a standout work consisting of four retro-futuristic helmets outfitted with cameras and monitors, which allow wearers to swap perspectives and steal each other’s points of view as they explore the exhibition. The piece highlights an important difference between Briand’s work and the bleak science fiction tradition that he references: his work makes a! hallucinatory future of failed technological utopias seem like fun. In these playful installations, a Phillip K. Dick-style confusion between reality and fractured perceptions becomes the perfect context for anarchic play. - Bill Hanley
Valéry Grancher via Rhizome news
We don’t need any coment regarding this piece done by Gianni Motti.
To celebrate this May 1st 2008, we can say “bye, bye” to the evil
Let’s hope that Italy will recover very soon…
Valéry Grancher via Cosmic Galerie in Paris, France.
EXPOSED: black box & crystal ball
Cross-cultural contemporary media art project in public sites
Ahn KangHyun (Korea)
Gaia Alessi & Richard Bradbury (Italy, U.K)
Choi Jeong Hwa (Korea)
A.K. Dolven (Norway)
Emil Goh (Australia)
Hong Seung Hye (Korea)
Jeon Joon-ho (Korea)
Kim Kira (Korea)
Kim Young Jin (Korea)
Hye Rim lee ( New Zealand, Korea)
Lee Yong Baek (Korea)
June Baik Paik (Korea)
Park June Bum (Korea)
Ene-Liis Semper (Estonia.)
Song Dong (China)
Tsui Kwan Yu (Taiwan)
Catherine Yass (U.K.)
Yoon Miyeon (Korea)
Ano Seo (Korea) (newly added)
This project presents work by twenty video artists, from Korea, China, Taiwan, Australia, UK, New Zealand, Estonia and Norway. In terms of cultural origin and artists various age, experience and recognition – EXPOSED: black box and crystal ball brings together emergent artistry with the internationally experienced and well known. They have been selected by unison of the surreal and magical characteristics of their works.
EXPOSED: black box and crystal ball will be exhibited and located outside the normal gallery setting and instead integrate its visual wonderland as a show-reel through large LCD and Plasma displays at public known economic and commercial surroundings around London, with its main venue to be, the LG i-Gallery at Harrods Department store.
The second part of the name; black box and crystal ball, relates to the manner of mood of the video works to be shown. As the name suggests; through modern technology, screens which are exclusively modern and desirable commodities, we will show works which convey contemporary visual poetics and other-worldliness, utilizing the screens as the window to the world beyond the real.
EXPOSED: black box & crystal ball has been generously sponsored by
LG ElectronicsTM, Art Council England, Arts Council Korea, MetWiFiTM and Asia House. This project has been selected as part of the official program for THINK KOREA 2008, Celebration for Korea/Britain official Friendship Year 2008 project.
Note to editors
Period of Screening: May 4 - June 3, 2008
Exhibition Opening Screening : May 4 2008 6:30-10:30PM,,
Debating chamber, London County Hall Riverside Building,
(Westminster Bridge Rd., London SE1 7PB)
- Debating chamber, London County Hall -ONE DAY SCREENING ONLY!
(Riverside Building, Westminster Bridge Rd., London SE1 7PB) Screening 7.10pm and 8.40 pm with reception
- LG i-gallery(3rd Floor), door 5 & 10 screens(more than 50 screens), West window Bay
(Harrods Department store, 87-135 Brompton Road, Knightsbridge, London SW1X 7XL)
- Other sites (screening time: 12:00-1:00pm and 3.00pm-4.00PM)
Cookies & Cream, 182 Wardour St, London W1F 8FZ
Moscos, 26 Audley St, London W1K 6WT
Posini’s, 29 Poland St, London W1F 8QR
City of Quebec, 12 Old Quebec St, London W1H 7AH
Warren Sandwich & Pasta Bar, 13 Warren St, London W1 5DA
Barista Coffee House – Canada Water, London SE16 2BY
Barista Coffee House – Straford, London E15 2SP
Jiyoon Lee (curator)
Jung won Gu (exhibition co-ordinator)
Contact details: 44 (0) 7886 752 513 (m)
Published April 2008
The shiwiars are leaving in deep Amazaonia in Ecuador closed to the Peru
Border. This one of the most isolated place on the planet, where the
biodiversity is the biggest. This is with these indigens that Valéry
Grancher decided to establish a direct link.
This movie is the story of his expedition.
I have the pleasure to announce the publication of the DVD of my
expedition in Deep Amazonia for the shiwiars project
shown at Palais de Tokyo site de création contemporaine in Paris on last
November. This DVD is published by one of the best art publisher called
This DVD will be launch on the market, on next June 28 2008 at Palais de Tokyo during the “Tropical night” dedicated to the shiwiars project…
You may order it now on line at this link (Only 250 copies are available !):
Click on the left menu in ‘movie by artists’ section then click on ‘valery grancher’.
Through her work, Hsia -Fei Chang uses, shares, exploits and
enhances the diverse abilities and obsessions of the world and those
around her… be it through publishing in extenso the diary of Sandra
(a former work colleague), inviting the Luxembourgian hard-rock
group Breet to act as Hsia-Fei’s participation in a show at the
Casino Luxembourg, or giving one of her “karaoke” show-cases where
she interprets AC/DC, Dalida, Beyonce or Kylie Minogue all at the
Hsia-Fei makes others do the work, blurs the notion of author and presents a humorous and stinging exposure of the excesses of our world.
For this new show at the Galeriee Laurent Godin, Hsia-Fei calls upon the artists of the Place du Tertre, the exotico-touristic reference of an artistic Paris definitively steeped in heritage…
Galerie Laurent Godin - 5 rue du Grenier Saint Lazare 75003 Paris tél: 01 42 71 10 66
Doug says: “Every year on 4/20, students and residents gather on Farrand Field at CU Boulder to defy the authorities and smoke marijuana publicly. This year, the University of Boulder Police Department fought back by taking pictures of as many participants as possible. They have a website with photos up, offering an $50 reward to anyone who positively identifies someone who was photographed. Nothing about what the authorities plan to do with the information is posted. Scary.” Link
CEREMONIES OF CONSUMMATION
Delia GONZALEZ & Gavin RUSSOM
May 4 – June 24, 2008
Opening Thursday, May 4, 6 – 9 pm
Javier Peres is very pleased to present the first Los Angeles solo exhibition of Delia GONZALEZ and Gavin RUSSOM, “CEREMONIES OF CONSUMMATION.” Gonzalez and Russom will present a new body of sculptures triggered by sound. The artists reside in Berlin and New York and will be present for the opening.
In their sculptures and installations, Gonzalez and Russom explore the forces of magic on earth via simple modular forms made in Formica. The sculptures are often arranged to suggest a range of images, from minimal sculpture to failed architectural experiments to vanity mirrors, but the sound components imbedded within the simple forms are at the heart of these works. The duo imbed analog synthesizers that play meditative, repetitive sound, based on the settings of knobs on controls panel built into each of the works. The sound that lurks from the forms takes over space via repetitive sound waves which create new forms that become sculptures that exist, albeit momentarily, yet continuously. The forms created by the sounds can be made and remade infinitely, in a multitude of forms, as an endless pursuit of creation, meditation, and consummation.
Recent exhibitions include “While Interwoven Echoes Drip into a Hybrid Body – an Exhibition about Sound Performance and Sculpture,” curated by Heike Munder and Raphael Gygax, Migros,Museum fur gegenwartskunst Zurich, Zurich (with catalog), “I Feel Love,” Galleria Fonti, Naples, Italy, “No Ordinary Sanctity,” curated by Shamim Momin in conjunction with Galerie Thaddeus Ropac, Kunstraum Deutsche Bank, Salzburg, Austria, and “Evolution is Extinct,” Daniel Reich, New York, New York. Their work has been featured in numerous US and international media, including The New York Times, Artforum, Frieze and most recently, they appeared on the cover of Arthur accompanied by a feature story entitled “INNER SPACE ODYSSEY, How Delia and Gavin Are Making the Earth Cooler”.
“CEREMONIES OF CONSUMMATION” featuring Delia Gonzalez and Gavin Russom will be on view at Peres Projects Los Angeles (969 Chung King Road, LA) through June 24, 2008. Hours: Tuesday through Saturday, from 11:00 A.M. to 6:00 P.M.
Image caption: No Way Back, Installation View from “While Interwoven Echoes Drip into a Hybrid Body - an Exhibition about Sound Performance and Sculpture,” curated by Heike Munder and Raphael Gygax, Migros, Museum fur gegenwartskunst Zurich, Zurich.
Jordi Colomer, Anarchitekton Brasilia, 2004
Stroom Den Haag
April 23 thru June 11, 2008
‘Modern©ité’ is an exhibition presenting poetic and critical views of the modern urban environment. The exhibition features sculptures, video works, photographs and installations by five internationally renowned artists: Francis Alÿs (Belgium/Mexico), Pedro Cabrita Reis (Portugal), Marcelo Cidade (Brazil), Jordi Colomer (Spain) and Anita Molinero (France).
The artists share a vision of modernity which is closely tied to the character of cities, particularly those in Southern Europe or Latin America. Using and appropriating the material that cities offer – not only physical objects, but for example also the traditions and habits of residents and passing visitors - they construct their personal visions of the urban environment. Focal point is the current issue how the ideological foundation of modernist architecture and city planning can be reconciled with the elusive character of a constantly changing society.
‘Modern©ité’ holds up a mirror. In The Netherlands several urban areas are in the midst of redevelopment. One example is the area of The Hague South West, where the modernist ideals of the architect Dudok are often at odds with the complexity of daily life.
An Australian digital artist is using his voice to design textiles.Pierre Proske has developed computer software that translates different frequencies in someone’s voice into spiral patterns, producing what he calls ‘voiceprints’. Proske developed the software while doing his masters in art and technology at Sweden’s IT University of Göteborg.
He’s used the software to design a pattern inspired by elements of Japanese textiles, a design that appeals to him because of its simple repeated elements. “ Computer code is very simple and minimalistic, you have these ones and zeros, so I thought it would be good to choose a very minimalistic textile as well.” The textile is made up of repeated spirals of more or less the same size in a particular dense and fairly regular arrangement (see image below).
Proske then scanned one of the spirals into his computer as the basic element in his voiceprint design.Next he used the software to analyse the frequency profile of a short sample of a voice.“ You might get a bunch of low frequencies and some high frequencies depending on what you say and how you say it,” he says. The software translates the relative amounts of different frequencies of a particular sound into a particular layout of spirals of different sizes. Different voice sounds can create different layouts of the spirals, says Proske.
He says the software could be used to generate patterns for textile and graphic design. “The idea is that it is actually meant to be quite accessible. Anybody could use their voice to generate these patterns.” Proske sees his research as a modern take on old technologies. “I’m kind of inspired by the connection of textiles and computers because they have a historical link that goes back to the automation of the loom in the 1800s,” he says. Proske says the same punched cardboard cards used to code for textile patterns were later used to program the first computers.
From May 5, - July 16, 2008 the Hartware MedienKunstVerein (HMKV) presents two exhibitions on the topic soccer and globalisation at the PHOENIX Halle Dortmund: “Glamour and Globalisation” (curated by Inke Arns, HMKV Dortmund) and “Fanshop of Globalisation: Soccer, Space and Economy” (a project by Bundeszentrale für politische Bildung and raumtaktik, Berlin).
GLAMOUR AND GLOBALIZATION: Football, Media and Art
May, 5 - July 16, 2008, HMKV at PHOENIX Halle Dortmund
Opening: Thu May 4, 2008, 19:00
Opening speeches: Dr. Gerhard Langemeyer, Mayor of the City of Dortmund; Dr. Christian Esch, director of NRW Kultursekretariat, and Dr. Inke Arns, artistic dirctor of Hartware MedienKunstVerein
Parallel to the „Fanshop of Globalization“ Hartware MedienKunstVerein presents fourteen international media artists / projects that deal with the five thematic chapters of the „Fanshop“ and broaden these topics in specific ways: (labour) migration, added value, networking / global corporate enmeshment, cultural identity and social divide.
Ursula Biemann/Angela Sanders and Etta Gerdes/Jens Sundheim research new forms of transnational (labour) migration which are caused by globalization. While Mieke Gerritzen shows the “beautiful world” of globalization as an endless series of colourful adverts and slogans, Ingeborg Lüscher makes two football teams face (and play against) each other in elegant, specially tailor-made designer suits. In economy, as in football, only those are on the winning team who break the rules of the game without getting caught. In an kind of pre-emptive obedience the artists’/activists’ group 01001001010.org re-named the historical Karlsplatz in Vienna into „Nikesquare“ in 2003 – a scenario that the producer of sport sneakers was not exactly happy with. The spectacular action is documented on video. For several years now the Yes Men have appeared as the “official” representatives of the World Trade Organisation (WTO) and the company Dow Chemical. In this function they recently announced on BBC World the immediate financial compensation of the victims of the devastating chemical disaster of Bhopal. Although Dow Chemical immediately disclaimed, the Dow share was going down almost immediately. During a „Global Risk Management“ conference in London in 2004 the Yes Men presented the „Acceptable Risk Calculator“ to enthusiastic managers and unveiled Gilda, the golden skeleton – niow on display at PHOENIX Halle Dortmund. In 2001 in their function as “representatives” of the city of Leipzig Eva Hertzsch and Adam Page travelled to the venues of the World Championship of Football in Japan and Korea and had talks with local representatives. The video which will be premiered in the PHOENIX Halle documents their astonishing findings. In a monumental cartographic image mounted on a wall the group Bureau d’Etudes dissects the capillary structures and entanglements of global media and telecommunications ownership, thus displaying what binds the world’s innermost core together. Further works that deal with football as a cultural phenomenon in (social and geographic) centers and peripheries are by Ulf Aminde, Martin Brand and Ömer Ali Kazma (who shows a large video installation dealing with the football team of Galatasaray Istanbul and its trainer). And finally, the London Psychogeographical Association recalls three-sided football which was introduced in the 1980s by the African football player Luther Blissett and explains its rules.
Participating artists: 0100101110101101.org (I), Ulf Aminde (D), Ursula Biemann / Angela Sanders (CH), Luther Blissett / London Psychogeographical Association, Martin Brand (D), Bureau d’Etudes (F), Etta Gerdes / Jens Sundheim (D), Mieke Gerritzen (NL), Eva Hertzsch & Adam Page (D/GB), Ömer Ali Kazma (TR), RASSIM (BG), Ingeborg Lüscher (CH), The Yes Men (USA)
Curated by Inke Arns (HMKV)
From 9th May to 5th September 2008, CARTES Centre for Art and Technology presents a video retrospective installation at WeeGee, Tapiola, Finland, together with the debut of three new films, by multimedia artist Christina McPhee (US).
“As in a dream, the camera in media artist Christina McPhee’s video..
roams across an enigmatic landscape gathering disparate images that tangle
together as loosely twisted threads of a story. They never fully knit
together, but that’s the point. Her themes are memory, trauma and the tumult
of earthquakes, and the video functions as a dreamscape of layered and
moving frames that mimic the way slips of imagery flutter through our
psyche, one quickly replaced by another…”
Holly Willis, “Carrizo-Parkfield Diaries,” LA Weekly, March 2005
The current geologic epoch is sometimes called ‘anthropocene’ to emphasize the force of human-induced ecological and geologic changes. In response to the global crisis of climate change and environmental risk, contemporary media art moves across the liminal edges of landscapes, linking human perceptions with natural forces, in a cybernetic embrace. Along the San Andreas Fault in California, Christina McPhee explores topologies of memory, trauma and geologic presence, like a field guide in a psychogeographic landscape. She tracks seismic presence through intimate studies of site. Combining performance and documentary, her experimental films meditate on the hidden and invisible forces of seismicity, and the shock of unpredictable trauma. Her topologic site studies hauntingly combine the poetics of memory with flashes of documentary and performance. Her work lives at the strange crossroads of scientific visualization and imaginative narrative in new media.
Christina McPhee’s recent videos have shown this year in installation at Bildmuseet, Umea, Sweden and screened at the Pacific Film Archive, University of California, Berkeley, for the centennial of the San Francisco earthquake and great fire of 1906. Her new work in video installation and digital large format photography, "La Conchita mon amour’ will open at Sara Tecchia Roma New York in October 2008. She created video installation for Pamela Z’s “Wunderkabinet”, a multimedia opera based on stories from the Museum of Jurassic Technology (Los Angeles) in debut at the LAB, San Francisco in 2005. She collaborates with the cyberfeminist collective thealit.de for an installation of Naxsmash, on traumatic memory and disappearance at the Hochschule for Median Kunst Koln in 2007. Her films, digital print installations and net art have shown in festival venues and museums internationally since 2000, including FILE Sao Paulo, prog:me Rio de Janeiro, Cybersonica at the ICA London, Digital Arts and Culture Melbourne, and the Royal Academy Copenhagen. Cornell University Electronic Media Archives, the Pandora Archive at the National Library of Australia, the Whitney Museum of American Art Artport, and the New Museum of Contemporary Art / Rhizome Artbase. Her paintings and drawings are found in American museums including the Kemper Museum of Contemporary Art. She is moderating a series of discussions for the Documenta 12 Magazine Project, online
Christina’s videos are presented courtesy the artist and
Sara Tecchia Roma New York
The exhibition is curated by Maria Tjader-Knight, Director, Cartes.
The exhibition is sponsored in part by the American Scandinavian Foundation N.Y.
(A)Bugs is an interactive ceramic sculpture –at a time when working with ceramics is regarded as “totally lame, not hype at all you know!”– but also an ironic game on dogmas.
The piece uses the Bluetooth capabilities of visitors’ mobile phones to adress them individually as they wander around the exhibition space by using or perusing their electronic identity, and getting their attention towards what has now become a common practice - invisible surveillance. Surveillance has been a major theme of the XLRMX collective (ChaosCam is an amusing proof of that) which will be present there. The sculpture actually “talks” to the viewer with speech synthesis, engaging him/her in subjects depending on what it can gather on the viewer and where s/he is located (reach, away, stays close, etc.)
Refusing to take side, the sculptural work is central to the critique of dogmas.
“Obscurantism is not only present in religion and politics with their fundamentalist or totalitarian surveillance dead-ends, it’s also something that we have inside ourselves. Playing with these themes is important if one wishes to exercise one’s criticism and not fall into the easy ‘them vs us’ kind of attitude. It’s also about admitting we’re human and that sometimes, we slip, we make mistakes. That’s why a bug is here for. And we can do something about it.” said Philippe Langlois commenting his work.
By Philippe Langlois and the XLRMX collective.
See it at the 51st Contemporary Art Biennale of Montrouge from Thursday, April 27 until Tuesday, May 16th, at the Montrouge theater.
P.S. Ironically, Nicolas Sarkozy and Renaud Donnedieu de Vabres names popped up on the opening invitation leaflet. It caused a stir on the art scene. The biennale organization tried to downplay the event.
“Gonzalo chief of the shiwiars”, oil on canvas (73 * 92 cm) 26.04.2008.
This painting is directly linked to the shiwiars project done in Palais de Tokyo in Paris…
Text on the canvas:
“Sorry, Mr President homilies won’t stop hurricanes.”
We americans need to get out of SUV’s and learn the harsh lesson of Katrina and Rita: We are all to blame.
Jeremy Rifkin, September 23 2005.
“Our primary objective is to defend our territory, our territory from oil exploitation, preserve its biodiversity and our culture through self managed development.”
Gonzalo chief of the shiwiars community. November 2005.
As you can see tow quotations are facing each others on this canvas. They
were done quite at the same time:
- One from Jeremy Rifkin on september 2005 concerning Katrina and Rita hurricanes
- One from Gonzalo who’s defining a very simple political program concerning his community
Gonzalo in this painting is standing up with his wife and facing us, he’s on a silver background which is hiding the rainforest around him…
The gaz money and industry will kill for sure his community. This money is hiding the biodiversity and the rainforest around him…
On Sunday i went for the second time (first time they confiscated my camera phone too early) to see LESS, Alternative Living Strategies at the Padiglione d’Arte Contemporanea in Milan. Among the new forms of living proposed by 18 artists i found many works blogged here and there: Dré Wapenaar’s Treetents were much bigger than what i had imagined, Andrea Zittel’s living units (”People in Japan are already living in stuff like that,” commented a visior!), Marjetica Potrc’s Hippo Water Roller and favelas-inspired Hybrid Houses, one of Krzysztof Wodiczko’s Critical Vehicles for the homeless, Lucy Orta’s wearable architecture, N55’s Snail Shell System, Michael Rakowitz’s inflatable paraSITE sucked air at the entrance of the museum, etc.
Jimmie Durham, Nature Morte with Stone on Metal and the Adjustable Wall Bra
The most striking pieces for me are by Atelier Van Lieshout and Vito Acconci (but i’ve always had a soft spot for their work.)
Acconci’s gigantesque Adjustable Wall Bra (1990-91) is a double chair where each cup provides seating, with surrounding music and the sounds of breathing (image top right).
Looking for more information about the piece, i stumbled upon one Acconci’s old projects: 3 masks based on conventional fencing masks. The Virtual Pleasure Mask “has a penis for nose, a vagina for mouth, and two televisions sets facing in for the eyes. On the other side of the vagina is a pacifier. So when you’re wearing the mask, someone can be fucking you on the outside, and you can be watching television on the inside, sucking on a pacifier in a world of your own.”
“The Virtual Relations Mask has a penis for nose, vagina for mouth, one television facing in at the eyes, and a surveillance camera on the top of the mask that mechanically rotates, up and down. So if you’re wearing the mask and someone is fucking you from the outside, you can see who’s fucking you by means of the camera, and if you don’t like who’s fucking you, there’s a whistle on the inside you can blow. The Virtual Intelligence Mask has 3 televisions: one larger television facing out, and 2 miniature TVs facing in. The miniature televisions cover the eyes of the person wearing the mask, he/she seems blindfolded by the TVs. At one side of the mask is a small radio, positioned at the ear of the person wearing the mask; the radio’s speaker is directed out. On top of the mask are two surveillance cameras, one on top of the other, one directed toward the front and the other toward the rear. They rotate mechanically, side to side. The person wearing the mask can see his/her environment on the screens in front of his/her eyes. In the meantime, passers-by may switch the TV channels outside the mask, or change from one radio station to another. A passer-by can literally «dial» the person wearing the mask; a passer-by can literally «turn the person on.»” (excerpt from one of Acconci’s talks)
Back to the show. Atelier Van Lieshout were showing a tiny mustard Capsule and the majestuous Maxi Capsule Luxus which Joep Van Leshout descibes as “like a farm for people. It looks like a chicken coop, but the units basically offer a simple solution for storing people.” Complete with a big bed, a TV set, a mini-bar, heating and other amenities, there isn’t much more to do inside the capsule than sleep and watch TV.
Also by Atelier Van Lieshout: The Disciplinator and The Call Centre. More on AVL in Icon magazine.
Virgilio has an image gallery of the show. My pics on flickr. Acconci images: world image, Mediakunstnetz.
PROJECT ARTS CENTRE,
39 EAST ESSEX STREET, TEMPLE BAR, DUBLIN 2, IRELAND.
11AM - 6PM
MONDAY - SATURDAY
In response to an invitation to work with Project and The Model Arts and
Niland Gallery, the artist Bojan Sarcevic has proposed the following
question - To what extent should an artist understand the implication of his
or her findings?
This question can be approached in a number of different ways. It can be looked at in terms of how much control artists have over the reception of their work, on audience perception and the effect that an artwork can have once it is put on display. It can be considered in relation to curating or art criticism, whereby another party acts as an intermediary between the work and the audience, staging or interpreting it on their behalf and on behalf of the artist. This question can also be seen in the light of practice that functions as research, or through art that produces concrete results in the world.
The project has several public manifestations including an intervention in the gallery spaces in Dublin and Sligo by Sarcevic and a conversation between the artist and critic Caoimhín Mac Giolla Léith. There will also be seminar in which artists and academics will respond to the question and subsequently the publication of an artists book featuring images by the Sarcevic, commissioned texts from Diedrich Diedrichsen and Sabastian Egenhofer and transcriptions from the seminar (two essays not confirmed). In addition a screening of films selected by Bojan Sarcevic, Sarah Glennie and Grant Watson will approach this question tangentially, using artworks which (either through their complexity, opaqueness or use of fiction) provoke the subsequent question of what it means to ‘understand a work of art.’
This project has been developed collaboratively between Bojan Sarcevic, Caoimhín Mac Goilla Léith, Sarah Glennie and Grant Watson.
List of events
Artist’s talk -Wednesday 19 April, 6pm - Project
In conversation between Bojan Sarcevic and Caoimhín Mac Goilla Léith.
Film Screenings - Saturday April 29 - Saturday May 13 - Project Gallery
Selected film programme including Melvin Moti and Anssi Heinonen.
Seminar - Friday 12 May 2 - 5pm - Project, presented in partnership with
Visual arts practitioners will be asked to respond to the question - To what extent should an artist understand the implications of his or her findings? Speakers will include Will Bradley (UK) Jan Verwoert (Germany) and Annie Fletcher (IRL/NL). The Seminar is presented in collaboration with Critical Voices.
Film Screenings - May 20 - July 9 The Model Arts and Niland Gallery
Selected film programme including Melvin Moti and Anssi Heinonen.
Artists Talk - 6 July - The Model Arts and Niland Gallery
In conversation between Bojan Sarcevic and Caoimhín Mac Goilla Léith.
Book launch - The Model Arts and Niland Gallery
A publication conceived by the artist featuring images by Sarcevic, commissioned texts and transcriptions from the seminar will be launched in the summer of 2008. This publication has been made possible with an Arts Council Commissions Grant.
Mobile Book Shop, Bagdhad, 2002, Claudia Zanfi Gianmaria Conti, Courtesy aMAZElab
Contemporary Arab Representations. The Iraqi Equation
Sinan Antoon, Arab Image Foundation, Hana Al-Bayaty, Sawsan Darwaza, Scheherazade Qassim Hassan, Tariq Hashim, Koutaiba Al-Janabi, Nedim Kufi, Faisel Laibi, Pierre-Jean Luizard, Maysoon Pachachi, Salam Pax, Talal Refit, Rashad Salim, Samir, Baz Shamoun and Saadi Youssef
28 April – 25 June 2008
Fundació Antoni Tàpies, Barcelona
Project directed by: Catherine David
Joint Production: Contemporary Arab Representations is a long-term project directed by Catherine David, organised and produced by the Fundació Antoni Tàpies, Barcelona; the Arteleku-Diputación Foral de Gipuzkoa and the Universidad Internacional de Andalucía-UNIA arteypensamiento. Contemporary Arab Representations. The Iraqi Equation has been produced in association with the KW Institute for Contemporary Art, Berlin, and the centro de las artes de Sevilla, and has been made possible thanks to support from the German Federal Cultural Foundation (Kulturstiftung des Bundes) and the Spanish Ministry of Culture.
Thursday 27 April, 12 noon: Press Conference with Nuria Enguita Mayo, chief curator at Fundació Antoni Tàpies, Catherine David, director of the project Contemporary Arab Representations, and a representation of the artists who take part in the project.
Thursday 27 April, 7:30 p.m.: Opening and poetry reading by poet and novelist Saadi Youssef. Reception generously offered by Enate, Moritz, Pago and Sumarroca.
Press service: Alexandra Laudo
More information on Contemporary Arab Representations.
Contemporary Arab Representations is a long-term project which includes presentations of works by authors from different disciplines (visual arts, architecture, literature, thought, film), seminars, performances and publications. The aim is to enable production, circulation and exchanges between the different cultural centres in the Arab world and the rest of the world. The project looks at the complex dimensions of aesthetics in relation to social and political situations to acquire a more precise knowledge of what is happening now in various areas of the Arab world. If the first and second parts focused on Beirut/Lebanon and Cairo/Egypt respectively, this third stage of the project turns its attention to Iraq.
Since the Gulf War and the invasion and occupation of the country, the images and incomplete news that reach us from Iraq through the mass media have to a large extent simplified and distorted representations and information about what is an extremely complex political, cultural and social situation. Contemporary Arab Representations. The Iraqi Equation does not propose an “exhibition” of modern or contemporary Iraqi art; rather, it provides a platform for information, meeting and debate open to artists, film-makers, authors, analysts and activists able to throw some light on the historic, political, social and cultural context that has led to the present situation and to suggest possible ways out of the nightmare that is everyday life for the Iraqi people today. The aim is, then, to put events, images and ideas into perspective to step back from the immediate horizon of destruction, confusion and chaos, a situation deliberately maintained to the benefit of a few, and to gather testimonies and actions enabling us to make an inventory of a complex cultural inheritance and to encourage possible projects with Iraqis, both inside the country and elsewhere.
Contemporary Arab Representations. The Iraqi Equation began with a conference at the Universidad Internacional de Andalucía-UNIA arteypensamiento (14 – 16 November 2005) with lectures by novelist Ali Bader, journalist Käis Al Azzawi and sociologist Pierre-Jean Luizard, among others. The project continued as platform for the presentation of documentary films and videos, feature films, video portraits, photographic archive materials, books and magazines, live satellite TV transmissions, artistic interventions and other live activities such as literature readings, lectures and debates. This new phase of the project was on exhibition at KW Institute of Contemporary Art Berlin, and now continues with a showing at the la Fundació Antoni Tàpies which includes new elements.
Friday 28 April, from 6 to 10 p.m.
· Three Years After the War, the Hour of Truth in Iraq, lecture by
· The Organization of Generalised Chaos, lecture by Hana Al-Bayaty
· Debris and Diaspora: Iraqi Culture Now, lecture by Sinan Antoon
Saturday 29 April, from 10:30 a.m. to 2 p.m.
· The Art Music of Iraq: A Unity of Diversities, lecture by Scheherazade
· Uranium Warfare Upon Iraq, Context and Ramifications, lecture by Rashad Salim
· Conversation between Sinan Antoon and Saadi Youssef
Tamáss 3. Contemporary Arab Representations. The Iraqi Equation
Valéry Grancher via
6 Cali Performance Festival 25 – 29 April 2008
Alessio Antoniolli, Fernando Arias, Tania Bruguera, Colectivo Cambalache, Teodora Diamantopoulos, Escuela de Esgrima con Machete de Puerto Tejada, Federico Guzmán, GRATIS, Las Malas Amistades, Les Gens d´ Uterpan (Franck Apertet y Annie Vigier), Live Art Development Agency, Caitlin Newton-Broad, Maria Inés Rodríguez, Armando Silva, Silverio y Miki, Virginia Torrente, Vincent + Feria
Wilfrand Anacona, Natalia Cajiao, Colectivo Estrato Cero, Colectivo Pornomiseria, Des-carrilados, Juan Carlos Dávila, Etienne Demange, El Vicio, Yury Hernando Forero, Carlos Franklin y Claudia Gómez, Boris Marlon Galvis, Pedro Gómez Egaña, Karime García, Beatriz López y Maria Isabel Rueda, Los Impedidos, Mucho Maché,Guillermo Marín, Luis Mondragón, Fabio Melesio Palacios, Agustín Parra, Juan Sebastián Peláez, Alfonso Pérez, Fernando Pertuz, Pope Noveau, Edinson Javier Quiñónez, Carmen Helena Rodríguez, Oskar Romo, Sangre de Palomo, Malcom Smith, Jorge Suzarte y Leandra Plaza, The Rimembers, Fernando Uhia, Rened Darío Varona, Gustavo Villa, Lorena Zúñiga y Martha Posso
The 6 Cali Colombia Performance Festival is a project of the independent artists colective Helena Producciones (Wilson Díaz, Ana Maria Millán, Claudia Patricia Sarria, Andrés Sandoval y Juan David Medina). This project is held in Cali-Colombia since 1998.
The Cali Performance Festival celebrates and encourages excellence, risk, creativity, participation and debate through partnership, knowledge, quality, access and education. The Festival promotes symbolic and material communication between the Colombian community, Colombian and international artists, curators, art administrators and artistic networks, generating cultural strategies around art which may have an impact upon our community.
The VI Festival will include 3 exhibition, 3 workshops, public interventions and a performance journey all happening between the 25 and 28 April 2008. These activities, free for the general comunity, will take place in several public, private and independent spaces around the city.
The Festival will be held in Cali, a Colombian city with a very critical situation due to its current run down economy and the proximity of the Colombian Presidential elections which will take place on the 28th of May.
Cali is a tropical city located in the middle of sugar cane fields and refineries related to the influence of the Spanish Colony after the seventeenth century. This postcolonial situation gives the regional culture a special and interesting character.
The VI Performance Festival will be an exciting event for artists, activists, curators, theorists, art administrators, professional networks and the general public, as the local and national context brings together historic, political, geographic, economic and environmental issues that will provide a very interesting scenery for discussion and debate.
Funders and Sponsors:
Prince Claus Fund, Secretaría de Cultura y Turismo de Cali, Feriva, Triangle Art Trust, Centro Cultural Comfandi, ParqueSoft, Embajada de España (Programa Miradas), Cámara de Comercio de Cali, British Council, Gobernación del Valle, Fondo Mixto, Centre dArt Contemporary Bretigny, adami, Casa de América, Triangle France, Doméstico, Lugar a Dudas, Hotel La Luna, Alianza Francesa de Cali.
ART 37 BASEL – du 14 au 18 juin - Stand # 2.1 / R3
Vernissage mardi 13 juin
Yvon Lambert est heureux de participer à la foire de Bâle du 14 au 18 juin 2008. Pour cette nouvelle édition, la galerie présente sur un stand de 120 m2 un large ensemble d’œuvres récentes d’artistes tels que Mircea Cantor, Nan Goldin, Douglas Gordon, Jeppe Hein, Jenny Holzer, Louise Lawler, Glenn Ligon, ainsi que des œuvres de Jason Dodge et Francesco Vezzoli, artistes nouvellement représentés par la galerie.
ART UNLIMITED - du 14 au 18 juin
CARLOS AMORALES - DAVID CLAERBOUT - DOUGLAS GORDON
Vernissage lundi 12 juin
La galerie est heureuse de présenter à Art Unlimited les installations des artistes Carlos Amorales, David Claerbout et Douglas Gordon.
Carlos Amorales, Broken Animal, 2008, installation vidéo, de 8 x 10 m.
David Claerbout, White House, 2008, installation vidéo.
Douglas Gordon, Black Star, 2002, première participation de l’artiste à Art Unlimited.
ART FILM – du 13 au 18 juin - 22 – 24h
Prompt Book, 2005
L’histoire de Natasha, une jeune fille qui s’entraîne nuit et jour pour tenir la promesse qu’elle a faite à son père de gagner la médaille d’or du plus beau saut.
ART WORLD FILM PREMIÈRE – 15 juin - 22 – 24h
DOUGLAS GORDON ET PHILIPE PARRENO
Stade St. Jakobs.
Zidane, un portrait du 21ème siècle, 2008
Présentation du film, interviews des artistes et concerts. Zidane, un portrait du 21ème siècle, réalisé par Douglas Gordon et Philippe Parreno, est le portrait cinématographique en action et en temps réel d’un des plus grands joueurs de football de tous les temps, Zinédine Zidane.
Both of us: Christophe Bruno and me were on vacation.
Since March 12, the blog was quite dead. We apologize for this :
During this period, we use our time to think about a new editorial concept.
I cannot say more today, but you will understand very soon what will be this blog new concept….
June 22 to July 29, 2008
Opening on June 22, 2008
GWENN THOMAS REVISITS JACK SMITH
New York, NY, April 21, 2008—Yvon Lambert New York is pleased to announce an exhibition of the work of visual artist Gwenn Thomas, a photographic narrative organized as a cinematic sequence of black and white images starring the legendary performance artist and filmmaker Jack Smith. Taken more than 30 years ago on the bosky grounds of the Cologne Zoo during the Kölner Kunstverein’s Projekt 74, these interpretive, unmediated views of the costumed Smith in performance reveal the artist in a project hilariously, seriously critical of the implications of national boundaries, landlords, and the concept of rent. The exhibition will be on view from June 22 through July 29, 2008. Yvon Lambert New York is located at 564 West 25th Street, New York, NY 10001, and is open Tuesday through Saturday from 10AM-6PM.
In December of 1974, storyboarded photographs selected from Thomas’ collaboration with Smith appeared as Horror of Shark Museum, a cover story for the avant-garde magazine Avalanche. The large-format magazine featured a double-page spread laid out in fumetti and faturing cartoon balloons with texts written and spoken by Smith in the construction of his performance. Among a cast of unsuspecting passers-by, free-ranging camels and a caged eagle, the late Berlin and New York-based art impresario Hildegarde Lutze appears in cameo as Smith’s wardrobe assistant. Among the many photographs presented in this show are images never previously printed in exhibition format. At Yvon Lambert New York, they appear in the context of Smith’s work in other mediums, including such material as Ken Jacobs’ Blonde Cobra, based on unfinished films by Bob Fleischner and starring Jack Smith, and the voice of Jack Smith in Tony Conrad’s Les Evening Gowns Damnées.
Innovative filmmakers, artist and performer, Jack Smith embodied the essence of the New York avant-garde of the late ‘60s and early ‘70s. Dissolving the boundaries that separate art and life, Smith influenced a generation of artists from Andy Warhol and Robert Wilson to Mike Kelley, among others.
Gwenn Thomas’ work is included in numerous collections, among them the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Philadelphia Museum of Art, Philadelphia; Charles Saatchi, London, England; São Schlumberger, Paris, France; CAM, Fundação Calouste Gulbenkian, Lisbon, Portugal. Born in Rhode Island, she lives and works in New York.
I have the pleasure to show hereafter my last paintings done four months after my expedition in Deep Amazonia for my solo show at the Palais de Tokyo site de crétaion contemporaine in Paris last november. They are dealing with my experience memory on physical level and visual level :
“GPS S 02 02.137 W 076 28.500″, oil on canvas (92 * 65 cm) 30.03.2008.
This one is showing a landscape at the entrance of the Jivaros (shiwiars) village called Tanguntsa at the end of the day. You have also as a title the exact GPS position of this landscape and is meaning that even this virgin landscape is not escaping from the US army satellite eyes …
“Tanguntsa jungle and google map”, oil on canvas (73 * 54 cm) 2.04.2008.
A jungle landscape closed to this village under the moon light. The physical conditions there cannot allow any digital picture done with a camera of camcorder, this picture is just shot in my memory. But also this landscape is not escaping from google map, that’s why in the river we can discover the Google logo…
“Found sculpture on mars January 11 2005″
Document paintings is a way to materialize art pieces which are totally
virtual. For example, the picture above is directly linked to the original
virtual pieces called “Found sculpture on mars”.
“Found sculpture” is directly linked to Marcel Duchamp concept such like “ready made”. A “found sculpture” may be an object directly linked to human skill or technology. What can we say and mean in another space and temporality ?
Specially when we can perceive this sculpture through the pthotography prism ? and now through a painting which is the materialization of this concept ?
I have another example with a piece called “Somewhere sometimes”:
” Somewhere sometimes” is an artwork made like a message sent to one of the Saturn moon called Titan. This artwork is put on the CD ROM to be flown to Titan onboard ESA’S Huygens space probe mission called Cassini. Cassini spacecraft mission left earth bound for Saturn on October 15 1997. It has arrived on January 14 2005.
And now it has became an art object through this painting:
I always dealt with paintings as I am dealing with other medias such as
videos, photography and internet. Painting is a media, certainly the slower
From Gioto to Mantegna, paintings were used as a visual media to explain Jesus Christus life to analphabet people who were entering in the church!
I can only paint existing images, I cannot invent any fictional images. This is my choice to do not to use paintings by dealing through psychoanalysis and literature or symbolism. But to use painting as a manual media to deal with media pictures: internet pictures, computer industry propaganda pictures (from their advertisment and catalogs), and space conquest pictures specially when I use (as a virus) the existing project from ESA or NASA to produce my own piece( like “somewhere sometimes”).
I guess that the fact I don’t need to look for new concept to paint something, but I am looking for pictures, means that we are not anymore in modernism and postmodernism, just in our world matters and topics.
Everything was experimented in painting language and painting semiology (iconology), except the new matters and topics brought in our world everyday…
Neterotopia has invited 11 artists to choose web site and use the spaces, usually intended for advertising.
The project is inspired by Michel Foucault’s concept of heterotopia. In opposition to the non-places of utopy, the heterotopies (literally: places of diversity), are defined by Foucault as “other spaces” capable to receive diversity and possibility, without disconnecting from the real world. Neterotopies are thus inserted in the media communication system, respecting its rules and limits, at same time attaching a new significance to advertising spaces. On display from 16th to 31st of March 2008 at physical spaces: Palais de Tokyo (Paris), NICC (Antwerp) and Careof (Milan).
Images from Christophe Bruno’s
project (in)human science: a series of advertising banners with
quotations of personalities who became famous in the realms of science or
reason, but whose convictions went as far as reaching the -endlessly
stretched- limits of the human being.
Via we make money not art
Originally from we make money not art
“CRAY XMP USA 1988
We are facing two supercalculators called CRAY XMP produced on 1988:
These super computers are constructed like towers with bridge in between
them. Around the tower, we can sit, on blue pillows, because these towers
are in the center of a blue ring sofa…
These view is quite abstract, the colour is reminding that we are facing a professional tools and are meaning power and energy.
The design is so typical of the end of eighties, and is dealing with a kind of science fiction fantasm from seventies…
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