Posts for February 2007

16Beaver at MIT


8 short talks on bio-art, biotech, and bio-politics


From 2004, in the shadow of Steve Kurtz's initial detainment...

Originally posted on by regine

And/Or #8 Saturday!!


And/Or Gallery Show #8:
Chad Hopper + John Michael Boling and Javier Morales

This is our second showing of painting and collage by Austin-based Chad Hopper, and one of the first gallery shows of the quickly rising video and net artist team from New York, John Michael Boling and Javier Morales. This show’s going to be weird and great, come check it out!

February 24th - March 31st
opening reception Saturday, February 24th 6pm-9pm

more info at


Also going on this weekend in Dallas…

Friday night at the Dallas Center for Contemporary Art, a (semi) narrative video show curated by John Pomara, Dean Terry & Joan Davidow. It includes a video from Michael Bell-Smith and some other stuff that looks cool too. More info here.

And there’s a new show at Plush opening Saturday night, and a show opening at the Fort Worth Modern on Sunday that includes Loretta Lux


Oops. A bit late for the opening, but still up for a while! ~mo

Originally posted on qotile/slocum by Luap

Upgrgade! Sofia



The Bulgarian Identity in Europe

Upgrade! Sofia :: Place: Main Hall, Goethe Institute Sofia, 1 Budapest Street :: Date: TODAY at 19:00.

After two months of absence Upgrade Sofia returns with a new kind of event. This time we have Veronika Tzekova doing a presentation on the topic "Identity Jamming" and the guest artist from Germany Wolfgang Kemptner presenting the project "Wet Interviews 2". Both presentations are united by one topic - Bulgaria and Europe. These presentations will be used as a tool to form a discussion about the Bulgarian identity in Europe, one hot topic right now. Are we part of the Europe? Nothing has changed, but things aren't quite the same after Bulgaria entered the European Union in January 2007. How does that affect our personalities and changes our point of view, even on a artistic level? Are we Europeans really?

Originally posted by jo from networked_performance, ReBlogged by Rosanna Flouty on Feb 26, 2007 at 01:49 PM


Originally posted on Eyebeam reBlog by jo

Neme: Erkki Huhtamo



On the Identity Crisis of Interactive Art

"I encountered -"hands-on"- an emerging phenomenon called "interactive art" on my first visit to the Ars Electronica festival (Linz, Austria) in 1989. One of the works on display was Deep Contact, a laserdisc installation by the American artist Lynn Hershman. Sitting in front of a display, the user was invited by (the image of) a seductive young lady to "reach through the screen" and touch her. By means of a touchscreen interface, the spectator-turned-into-interactor responded, entering various realms, including a kind of garden of earthly delights, where s/he chose forking paths and encountered erotically loaded incidents along the way. Another installation was The Legible City by Jeffrey Shaw. By means of a stationary bicycle, like the ones at gyms, the visitor entered a virtual city consisting of letters, words and sentences. Choosing one's routes through the spatialized database, one engaged in simultaneous acts of reading and writing with the combined efforts of one's eyes, hands, and feet. I still remember the intoxicating feeling of diving under a giant letter "A", or the sensation of virtually crashing through entire words. These experiences raised questions in my mind: what does cruising between and under letters, and even penetrating them, mean? What is the ontology of such experiences? Am I inside language, or even beyond it? Or inside someone else's mind? Confronted with such uncanny issues, I had a feeling that something "new", perhaps even the "ontological rupture" touted by virtual reality enthusiasts, was in the making." Continue reading On the Identity Crisis of Interactive Art by Erkki Huhtamo, Neme.


Originally posted on networked_performance by jo

The Art World Is Flat




The Art World is Flat: Globalism-Crisis and Oppportunity :: April 26-28, 2007 :: Jay Pritzker Pavilion, Millennium Park, Chicago.

Presenters: Amy Balkin, Francesco Bonami, David Buckland, Stephen Burks, Anna Deavere Smith, Bruce Ferguson, Ed Gillespie, Stanley Hainsworth, Susan Harris, Lynne Hershman Leeson, Natalie Jeremijenko, Simone Aaberg Kaern, Ruby Lerner, Rick Lowe, Lu Jie, Ken Lum, Bruce Mau, Lucy Orta, Anne Pasternak, Dan Peterman, James Rondeau, Peter Sellars, Jennifer Siegal, Stephanie Smith, Lynne Sowder and Victoria Burns, Francesca von Habsburg, Lawrence Weschler, Mathew Wilson, Jon Winet, and iro Yamagata.

Globalism is radically transforming our world, creating new political instabilities, economic interdependencies, ecological stresses and cultural hybrids. The negative results of globalism have been widely discussed: the loss of cultural and ecological diversity; the consolidation of economic and media power; the rise of violent reactionary and fundamentalist movements.

But there are concurrent trends that suggest hope for a more positive future. These include a growing awareness of the interconnectedness of human destiny regardless of religious, geographic or political differences; the uses of technology to heighten and accelerate social networks and actions; the realization of the urgency of addressing pressing, common, environmental, economic and political crises.

For the arts, the crisis of globalism is also an opportunity to interact meaningfully with visionaries in business, politics, science, and other arenas
The arts, always a harbinger of change, are likewise experiencing an unprecedented surge of new aesthetic forms, cross-disciplinary partnerships, distribution networks, market forces and inter-cultural exchanges. For the arts, the crisis of globalism is also an opportunity to interact meaningfully with visionaries in business, politics, science, and other arenas, and to play a powerful new role in the transformation of our shared reality and emerging future.

This conference will bring together an international group of innovative and socially engaged artists, writers, scientists ...


Originally posted on networked_performance by jo

Mendi+Keith Obadike Launch Big House / Disclosure


Mendi+Keith Obadike:

For Immediate Release
a 200-hour long house song with the voices of Chicago-area Citizens

WHEN: March 1st- 8th
WHERE: Northwestern Univ. Campus – Kresge Hall and online at
CONTACTS: ( &, 847-491-4890 (Northwestern Office of
University Relations)

Mendi + Keith Obadike (born 1973, USA) make interdisciplinary art works using live art, music, literature, and new media. One of their better-known projects is Blackness for Sale, in which they auctioned Keith’s blackness on eBay. Mendi + Keith were commissioned by Northwestern University’s Art Theory and Practice Department to create a new work, Big House / Disclosure, an intermedia suite featuring a 200-hour long house song that will be heard in real-time from March 1st-8th in Kresge Hall on Northwestern’s campus and online at This work was created in honor of the 200th anniversary of the abolition of the British Slave trade in 1807 and Chicago’s role as the first city in the United States to adopt a Slavery Era Disclosure Ordinance in 2002, requiring businesses seeking city contracts to disclose whether they have profited from slavery.

Big House / Disclosure was constructed using audio interviews conducted by Northwestern University students with Chicago-area citizens about slavery and the city’s slavery era ordinance. Mixing these interviews with elements of Chicago house music, the artists created a multi-channel sound installation. The project includes 200 video clips of live art and musical performances viewable from the website ( Musical events in the sound installation are triggered by custom-designed software tracking the real-time rise and fall stock prices of several corporations that have admitted to profiting from slavery.

Keith Obadike received a BA in Visual ...


Originally posted on Raw by Mendi+Keith Obadike

Hands-Off Romance


The current show at New York's EFA Gallery is already ironic, if one pauses to consider its title, Meme: Romanticism. Memes are self-replicating entities, originally classified by science and more recently popularized by the purveyers of web 2.0 culture invested in the infectious popularity of phrases, videos, and other 'memes' on the net. So it pairs the revival of an old school art historical/ literary classification that, in some senses, revolves around 'self-love' with the phenomenon in which things reproduce like asexual wildfire. Swim your way through that premise and you'll find a range of interesting cinematic projects by seven artists. Curator Michele Thursz selected works by Tobias Bernstrup, Jeremy Blake, Claudia Hart, Michelle Handelman, Reynold Reynolds and Partick Jolley, and Carlo Zanni 'that utilize technological aesthetics, cultural symbolism, historic compositions, and narratives to expose the conceptual underpinning of Romanticism.' The show is designed like a theatre, with individual works being screened in the main room and prints from the videos being exhibited in the 'lobby.' There is, here, an allusion to Hollywood, that apogee of romance-churning machinery, especially as romanticism gave way to pop, a cultural moment that the show seeks to excavate. The artists give these issues a contemporary spin, working in newer media and a fresh context. The offline version of the show is up through March 31. - Irene Wu


Close To The Edge


A whimsical image of the blogosphere from the edge of the core.



Originally posted on Data Mining: Text Mining, Visualization and Social Media by Matthew Hurst

Control, Alt, Delete?


Jonathan Harris

Two anthologies published last year, Curating Immateriality: The Work of the Curator in the Age of Network Systems and Art and its Institutions: Current Conflicts, Critique and Collaborations attempt to grasp a ‘world art world’ undergoing profound transformation within the ‘horizontal’ and globalised matrix of post-fordism. But how impartial are the diagnoses of art world professionals, and indeed how ingenuous the calls for democratisation from within their left-liberal ranks?, asks Jonathan Harris [....]





Resampled Dancer

Dance MADE IN BAVARIA 1. - 3. March 2007 Munich :: Chris Ziegler: turned + Herzliche Einladung nach Munchen in die Muffathalle, 2nd March 2007 8:30 PM :: director/ video: Christian Ziegler (D) / dance: Kazue Ikeda (J) / music: FLorian Meyer (D).

turned is an interactive and multi-media dance performance, developed and performed by media artist Chris Ziegler from Munich, with Kazue Ikeda, a Japanese dancer currently working in Berlin and DJ Florian Meyer (Institut fuer feinmotorik). The performance combines elements from dance, painting, visual art and music. The recorded images of the dancing body are sampled and distorted by electronic processing. The motion deconstructed in this manner opens up a poetic vision of loss and destruction. The viewer is taken along on a quest for clues. The piece turned is a turntable: it begins as a concert, continues as dance and then turns into an interactive video sequence and finally into a VR-installation - a multi-media-based spatial structure evolving before the eyes of the viewer.

The production realized during a residency at ZKM | Karlsruhe (center for art and media) was supported by: Kulturreferat der LH M|nchen, Bayerischer Landesverband Zeitgenvssischer Tanz, Fonds Darstellende K|nste e.V., Bonn.


Originally posted on networked_performance by jo