NOISE BOYS (2008) - Brace Pain
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2. Mute the second video.
More videos by Brace Pain
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Starfield Simulation #33 -- Audio Response Mirror- Site specific sound installation by e+l (Ken Ehrlich/Brandon LaBelle) in the "sound bowl" at Scania Park in Malmo, Sweden. From the artist's statement: "Focusing on the existing electronic system in place, we approached the Scaniaparken location as a site structurally determined by the amplification of music and sound. The existing electronic sound system was used as the sole source for the production of the sound work through a series of feedback investigations."
Underground art galleries serve a special niche- Article from the San Francisco Chronicle covering San Francisco's many "guerilla" art galleries.
K.I.S.S. at Club Internet- Paddy from Art Fag City reviews the current Club Internet exhibition K.I.S.S.:
"K.I.S.S. (Keep it simple stupid), Club Internet's current collection of web art put together by constant dullaart, presents a focused curatorial theme of artists working with design simplicity, many of whom bring the user static websites, and various utilities commonly found on the web that don't work the way they are supposed to. The success of the work varies from piece to piece, though for the most part it's strong."
Aspects of Transmateriality: Specificity- Entry from (the teeming void): "Transmateriality is a notion I'm working on that treats the digital as always and everywhere material - embodied from "end to end" - while maintaining a sense of how the digital functions as if it were immaterial. The core idea is well stated by Kirschenbaum (blogged earlier): "Digital systems are material systems designed to support an illusion of immateriality."...while the digital in general relies on holding specificity at bay, there seems to be a wave of creative interest in the specific material conditions of how the digital is manifest...recently we've seen a wave of arrays that can be read as anti- or post-screens: special-purpose displays that acknowledge their physical substrates. Think of Troika's Cloud (or indeed Rokeby's Cloud), Daniel Rozin's mirrors (above, his Wooden Mirror), or Art+Com's kinetic array for the BMW Museum (video)"
Aleksander Komarov: Weichensteller / Kunsthalle Winterthur / Interview- Interview with artist Aleksander Komarov from VernissageTV. Komarov explains the concept behind his two video installations On Translation: Transparency / Architecture and Estate, currently on view at Kunsthalle Winterthur.
Dual Ghoul II from NateBoyce on Vimeo
More work by Nate Boyce
Via Cory Arcangel
Tools of the Trade:
Here tech writer Melody Chamlee describes Rob Seward's work Umwelt III (HOME) for Rhizome's ongoing series "Tools of the Trade." - Ceci Moss
daniel everett- from i heart photograph: "daniel everett's 'building a more meaningful existence'. as he explains: "for this project i used a graphics editor built into an early arcade game to convert spam emails i had received into a virtual landscape. by reconfiguring the graphics editor interface to accept keystrokes as input, i was able to build these landscapes solely by transcribing the spam messages and compiling them. for this piece i specifically chose spam messages that promised me a more meaningful life, increased happiness, and a greater sense of self-worth."
A Speech Recognition Sing-A-Long this Friday- I love Machine Project in Los Angeles, they do such wonderful work. In this tutorial and performance Friday on speech technology, Joe Tepperman will "talk about some of the ways we can apply speech recognition, speech synthesis, and linguistic theories to music, followed by a performance by his alter ego, Mooey Moobau."
Ian Burns- Studio visit with artist Ian Burns from NewArtTV. Burns' low-fi motorized sculptures attempt to demythologize the contemporary creation and consumption of images.
Olga Chernysheva- New solo exhibition of photography and video by Moscow-based Olga Chernysheva at Foxy Production opens next Tuesday. "In New Work, Chernysheva fuses this visual language to her native city, dramatizing the experience of loss, isolation, and renewal. Moving between empathy and voyeurism, and belief and disillusionment, she appropriates Realism to question what can be known and what can be held as truth."
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
LAUNCH
More work by Billy Rennekamp
September 7, 2008
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A Spiritual Movement?
Many of the artists recently covered on Rhizome have shared an interest in spirituality, particularly as it intersects with mythology and ethos. Call it new media three-point-something, this sect of artists is also significantly prolific and a new show at Prato, Italy gallery Project Gentili surveys very recent work by a handful of the most interesting, including Maurizio Bianchi, Brody Condon, Deva Graf, Shane Hope, Xavi Hurtado, Michael Jones McKean, Dexter Sinister, Damon Zucconi, and AIDS-3D. Entitled "Pole Shift," the show alludes to a recent resurgence in New Age attitudes and interest in the metaphysical; particularly the conjecture that the earth might undergo an axial adjustment, causing a relocation of its poles. (Some worry warts link this prediction with the fear that an expiration in the Mayan calendar in the Gregorian year 2012 signals not only a pending geographic shake-up, but also an apocalypse.) Appropriately, many of the works in the show combine technology and a keen interest in systems with an end-of-an-era, eleventh-hour-type fervency sure to keep viewers on the tips of their toes. After its preview in Italy, the show will be reincarnated in nearly the same shape at Art-Forum Berlin, October 25-December 15. Assuming the world hasn't turned upside down by then, the show's worth adding to your art tour itinerary. - Marisa Olson
Linked In
"K.I.S.S. (Keep it simple stupid), Club Internet's current collection of web art put together by constant dullaart, presents a focused curatorial theme of artists working with design simplicity, many of whom bring the user static websites, and various utilities commonly found on the web that don't work the way they are supposed to. The success of the work varies from piece to piece, though for the most part it's strong."
Dual Ghoul II (2008) - Nate Boyce
Dual Ghoul II from NateBoyce on Vimeo
Rhizome News: The Scale of Intervention
Co-organized by Conflux
Moderated by Wooster Collective, with CutUp Collective, Leon Reid IV (of Darius + Downey), Betsey Biggs, and Roadsworth
Friday, September 5th, 7:30pm
the New Museum, New York, NY
$6 Members, $8 General Public
Join us this evening at 7:30pm for this month's New Silent Series program at the New Museum, entitled "The Scale of Intervention." Co-organized by Conflux, an annual festival dedicated to psychogeography, and moderated by the founders of the celebrated street art website Wooster Collective, this panel will look at possibilities for artistic disruption within urban environments. Taking its name from a film by the London-based Cutup Collective, which plays with the viewer's perception of a street scene, the panel will feature artists whose work ranges across a variety of mediums and materials. From reformulation of billboard advertisements into powerful, politically-oriented collages to the subversive reformulation of street signs, such as pedestrian crossings and bike lanes, the featured artists will demonstrate how they dislodge the customary navigation and perception of urban space.
Image: Roadsworth, North American Footprint (Parc Ave., Montreal, Quebec, September 2004)
Tools of the Trade:
Umwelt III (HOME) at 119 Chambers
Here tech writer Melody Chamlee describes Rob Seward's work Umwelt III (HOME) for Rhizome's ongoing series "Tools of the Trade." - Ceci Moss
Currently on display at 119 Chambers Street is kinetic sculpture Umwelt III (HOME) by artist Rob Seward. Using common fluorescent vacuum tubes to light the sign, Seward says he referenced the Jakob von Uexküll and Thomas A. Sebeok definition of an umwelt, a subjective universe which includes meaning producing aspects for all life forms - in this case the narrative of the building inhabitant to the sidewalk passer-by.
On a quiet night, the gliding mechanical display of short white tubes rotates in a seemingly chaotic pattern out the window, slowly aligning and deconstructing the word "home" in bright white fluorescent fashion. The tubes meet and slowly scatter in clockwork formation, generating a slow animation of random pattern display that floats back together in a clear display of the word "home." What seems at first chaotic movement becomes a perfectly formed idea in alignment with viewer recognition. The concept of "home" is presented much the same way a disoriented traveler recognizes a familiar place.
Says Seward, "Before Umwelt III (HOME), I made pieces that spelled KILL and RUN. These where based on flight or fight instincts. The Umwelt III (HOME) piece is part of an earlier series to play on simple, old emotions. Umwelt III (HOME) is inspired by the need for shelter and feelings associated with it."
Rather than compromise between empiricism and rationalism, the sculpture continues to scatter and realign without adding additional context, leaving the viewer to complete the semiosphere with personal significance.
Seward says he was inspired by the idea of an umwelt to display these ideas, and is already working on a new sculpture, entitled WORK WORK WORK. In the new concept, the word "work" aligns in different rows to produce a chanting effect in visual space.
The artist's other experiments include the CONSCIOUSNESS FIELD RESONATOR (CFR) a random number generator that tests for "micropsychokenisis," a theory that patterns manifest more strongly during times of great shared social experience even when, all else being equal, such patterns should not exist. Elevated examples of patterns from the number generator are recorded and considered in relation to national and world events.
Linked In
THIS IS NEVER GOING TO STOP (2007) - Billy Rennekamp
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
THIS IS NEVER GOING TO STOP
Interview with Kevin Bewersdorf
In this interview, conducted by Rhizome Editorial Fellow Gene McHugh, artist Kevin Bewersdorf discusses his philosophy toward surfing the web, the spiritual dimension of his work and his upcoming show "Monuments to the INFOspirit" at the New York gallery V&A. - Ceci Moss
Gene McHugh: The name of your website is Maximum Sorrow. What does this phrase mean to you?
Kevin Bewersdorf: Maximum Sorrow is my self brand and self corporation. It is a body of information waiting day and night to be wandered through, a corporate body whose only shape is the reverberation of the information passing through it. It is partly a philosophy of "corporate spiritualism" realized through marketing practices and continuous web surfing. I've recently written a text called "The Four Sacred Logos" that introduces some of the basic concepts of Maximum Sorrow. With each new sacred text and addition to maximumsorrow.com, I try to better understand my own spiritual relationship with the web. Hopefully the definition of Maximum Sorrow will become clearer as the site and I evolve together.
There seems to be a genuine interest in some of your recent work in locating or describing how the spiritual could interface with the digital. For example, Spirit Surfers surf club and the "Stock Photography Watermarks as the Presence of God" photo essay on Art Fag City. Is that accurate and, if so, what conclusions have you come to (if any)?
Well, the internet has hardly changed our physical lives at all, but it has drastically changed our spiritual lives. I think this perspective goes largely undiscussed when the web is viewed through less pertinent but more common sociological and technological lenses. While the internet is a physical body of wires and chips, the web is a shared non-physical realm of experience that requires many aspects of spiritual faith to interact with. We post and commune on a plane of information that we cannot touch or see. We tend to wander the web in private, confronting the massive database alone each day. We are inclined to use the web for the satisfaction of our emotional and intellectual needs rather than for our physical needs. We make pilgrimage to the same web sites at regular and repeated intervals, paying homage to them by contributing or partaking, and then we move on to our other daily needs like eating and sleeping. But all the while, we have faith that this plane of information we have become so dependent on is tangible enough to provide a worthwhile connectedness. For many of us, the web has become almost sacred, its ritual use is the embodiment of our spiritual needs. So I suppose that my conclusion is this: surfing the web can be a fulfilling spiritual experience and a direct interaction with a transcendent reality.
The written signature plays a prominent role in your self-portraits. What is it about this gesture that interests you?
There is something I have noticed about a lot of artists these days, especially net artists: they want to do everything. At one time artists were content with specialization, like in making only stained glass windows or etchings all day long. Now it is more common for artists to want to tackle all the forms of expression that the net can carry -- the still image, the moving image, music, writing, design, and so on. Many net artists may not be willing to admit it, but what they are really trying to do is to build an empire, to be a brand that offers it all. There is an absurdity to that. Having your own website is like building an unnecessary shrine to yourself. We can try to deny this by convincing ourselves that what we are doing is somehow a selfless gift, but the web has not asked us for these gifts. The web would go on without us. As net artists, we are pushing ourselves unsolicited on an already saturated marketplace. So I use my signature and various logos to point out the absurdity of this vanity, the struggle to give of yourself without becoming consumed with yourself.
The signature also makes my marketing tactics very obvious and shows that I accept myself as nothing more than a product to be marketed. Whether a net artist brands themself with a sparse list of links on a humble white field or with loud layers of noise and color or with contrived logos in a bland grid, they are constructing their own web persona for all to see. They are branding their self corporation. I think this self branding can be done with functionless art intentions rather than functioning business intentions. All the marketing materials are just shouted into the roaring whirlpool of the web where they swirl around in the great database with everyone else's personal information empires. I think these persona empires are the great artworks of our time, and they inspire me to keep building my own brand.