The newest exhibition at The Laboral Art and Industrial Creation Center in Gijon, Spain, aspires to do a number of difficult things. On the outset, the show--which is entitled 'It's Simply Beautiful'--attempts primarily to ask what constitutes beauty. This ageless question is complicated in today's art world, where artists blend a variety of media and practices, and where beauty is at times dismissed as low-brow and at other times entirely overlooked in the discussion of seemingly more process-oriented new media art. Curators Peter Doroshenko and Jerome Sans have put together a show that not only approaches these challenges directly, but also asks broader, deeper questions about the transcultural collaboration that they see at the heart of contemporary art, as artists borrow from each others' traditions. The old expressionist model of beauty, they argue, is not germane to interpreting this work, as it implies the presence of a singular voice coming from a singular community. In bringing together artists from France, the United Kingdom, the United States, and Thailand, they insist, 'We are in the midst of globalizing forces foreclosing some forms of cultural life and opening up others, and they ask, 'What are the aims of culture in a globalized world?' Large-scale installations by Carlos Coronas, Dzine, Surasi Kusolwong, Mark Titchner, and Fabien Verschaere will flesh-out and problematize these questions, though October 22nd of this year. The curators' hope is that the answers suggested will 'determine how we conduct ourselves as artists and citizens.' - Marisa Olson
Gearbox is a cross between a hacker's toolbox and a DIY cookbook. Created by Graham Harwood, artistic director of the UK artist group Mongrel, and developed at Eyebeam with fellows Jeff Crouse, Evan Harper, Geraldine Juarez, and Chris Sugrue, the project is one of several 'free media' works by Harwood that 're-purpose publicly accessible materials and equipment for creative expression.' In this case, Gearbox encourages consumers to find and use 'free' materials in activist contexts. To this end, the project's website posts free step-by-step instructions and photos detailing tools that individuals might build, such as the '$29.95 Starbucks Coffee Cup Spycam' in which the one-time CVS video camera is cracked and embedded in a Starbucks coffee cup, for 'covert video acquisition.' Also popular among users of this new service is 'Video Sniffin' a set of instructions for sniffing out CCTV networks and capturing the signals form their wireless networks directly to one's own camera. Many of these projects implicitly challenges the claims to empowerment made by the manufacturers or marketers of these technologies, while putting the real power in the hands of the web-surfing gearhead. - Angela Moreno
Hello, It is time for our annual collaborative event with the Music Gallery as part of their X Avant Festival here in Toronto. In addition to the press release below, please see http://www.musicgallery.org and http://www.vagueterrain.net - I've also compiled a lot of info about participating artists at a recent post on my blog: http://serialconsign.com/node/99
hope to see you out in September,
Greg J. Smith
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Originally posted on Rhizome.org Raw by Greg Smith
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"We are all at the mercy of dream, and in the waking ours we have to suffer its power". La Révolution surréaliste, Issue 1, December 1924
Domenico Quaranta is pleased to announce "SPAWN OF THE SURREAL" (http://www.domenicoquaranta.net/blog/), his Second Life alter-ego's blog.
"SPAWN OF THE SURREAL. Travel notes of an art critic lost in the dumpster of the imaginary" will feature the considerations of an imaginary art critic who tries to make art in Second Life make sense to him and to the contemporary art audience. The idea came out from the fact that there are a lot of accounts about art in Second Life, but a little criticism; and that there isn't enough space for this subject on contemporary art magazine. Obviously, every comment and discussion will be welcome!
Read through for full description of project.
Originally posted on Rhizome.org Raw by Domenico Quaranta
New Reviews/Interviews at Furtherfield.org July 31st 2007. http://www.furtherfield.org
On everything by Pall Thayer. Review by Sabine Gottfried. ———————————————————————> In On Everything, text has become an arbitrary combination of fragments passing across the screen as an infinite stream of cooking recipes, marketing phrases, and personal diary entries, embracing any possible topic that can potentially find its way into text. Images, meanwhile, seem similarly decomposed and fragmented. Processed by something like a digital shredder, they are cut into shavings and rearranged into colorful, collage-like compounds only vaguely reminiscent of their originals. http://www.furtherfield.org/displayreview.php?review_id=277
Twisting Fistfuls of Time with David Rokeby Part 2. An interview by Charlotte Frost. ———————————————————————> 2nd part of an interview with David Rokeby, which was originally in conjunction with his first UK retrospective ‘Silicon Remembers Carbon’, FACT, Liverpool, (20th April – 10th June). David Rokeby is an installation artist based in Toronto, Canada. He has been creating interactive installations since 1982. Focussing on interactive pieces that directly engage the human body, or that involve artificial perception systems. His work has been performed / exhibited in shows across Canada, the United States, Europe and Asia. http://www.furtherfield.org/displayreview.php?review_id=274
Read through for reviews/ interviews of Mediartists, Ripon by Knut Hybinette and Troy Richards and Tom Moody's BLOG.
Originally posted on Rhizome.org Raw by marc garrett
// CALL FOR ENTRIES
// International Prize for Performance, 3rd Edition
// Galleria Civica di Arte Contemporanea of Trento
// Deadline: 12:00 AM on Wednesday, August 22nd, 2007 (Italian time)
The official announcement of the International Prize for Performance, organized by the Galleria Civica di Arte Contemporanea of Trento, in collaboration with centrale FIES is out. The Prize, which counts its third edition this year, can be characterized as the first and only prize for performance that exists in the world and proposes the same formula as last years, which saw high participation numbers from both the public and the artists.
All artists of all nationalities, from all formative backgrounds (visual arts, dance, music, poetry, etc.) and born from January 1st, 1972 are invited to participate. The first prize is fixed at 5,000 euros and there will also be minor prizes awarded.
The initiative aims to select among the participants twelve young performers from all over the world, who are invited to realize a never before seen performance on the evenings of October 5th and 6th, 2007 at the former hydroelectric power station Centrale di Fies in Dro (Trento). Performances will run under the eyes of a jury composed of some of the most absolute names in the Italian and international contemporary art world, one of whom will be president, the artist and performer Jimmie Durham.
Other members of the jury are specialists with different backgrounds, in order to guarantee the Prize a multidisciplinary character; they are: Giacinto Di Pietrantonio (art critic and Artistic Director of Galleria di Arte Moderna e Contemporanea of Bergamo), Rune Gade (Associate Professor at Department of Arts and Cultural Studies, University of Copenhagen), An-Marie Lambrechts (Artistic Director of Toneelhuis Theater, Antwerp), David Weinstein (Director of Programs of P.S.1, New York), Barbara Boninsegna (Artistic ...
Originally posted on Rhizome.org Raw by ana otero
Currently on view online and in San Diego, California, is the annual Siggraph exhibition. Siggraph is a professional organization created 'to promote the generation and dissemination of information on computer graphics and interactive techniques.' The group organizes publications and programs throughout the year but their annual conference is a major event. Siggraph has always been a strong supporter of the arts and particularly artists using interactive techniques and computer graphics in all their incarnations. In the early 1990s, the conferences were one of the few places that digital art was being exhibited and discussed, making their online archives a valuable resource for anyone interested in the wonder years of net art. This year's show, on view through August 9th, continues this tradition. Take a peek to see what constitutes innovation in art, today. - James Petrie
Perhaps inspired by Joseph Beuys declaration that 'Every human being is an artist,' Brazilian artist Ricardo Basbaum's 'Would you like to participate in an artistic experience?,' featured at the current Documenta 12 in Kassel, Germany, follows the famous German's radical proposition of a 'social sculpture.' A new installment of the project, initially launched in 1994 and presented online, was the first event at Kassel, this year. A few months ago, ten white and blue steel items left an apprentice's workshop and joined ten others on three continents, where households located in Kassel, Dakar, Ljubljana, and Mexico City, among other places, have received them. There, its inhabitants--their temporary owners--have appropriated them according to a personal understanding of their function or aesthetic qualities. As Roger M. Buergel, artistic director of Documenta 12, has commented, the works are 'unreasonable, fitting-in nowhere so they pose a challenge.' Indeed, their uncanny shape--resembling 'an empty pie dish or a bathtub with a hole in it,' as someone once described them--challenges any utilization or contemplation. Visitors to the exhibition at Kassel lay on colorful pillows placed on the green-carpeted floor of a prison-like cell and watch the several TV monitors placed inside the structure. Here they witness the creativity with which different individuals have dealt with the pieces. Living with them has triggered unexpected situations that the videos document (as well as photographs posted in the website), leading to a close relationship between the participants, the objects, and the artist. As Basbaum has put it, echoing Beuy's utopian proposal, 'I want to reverse the relationship between the artist and the audience, to find out something about the people involved. Now the audience is the sender and the artist is the recipient.' - Miguel Amado
It's no wonder that 'privacy' is among the most popular tags for users of the social bookmarking site del.ico.us. The increasing use of surveillance technologies ranging from security cameras to consumer profiling, and RFID tags to telecommunications eavesdropping techniques has placed the question of privacy at the forefront of contemporary political debates. But the bigger question is of the relationship between surveillance and web 2.0 services; particularly social networking sites. That is to say, the same people who make sites like del.icio.us work are caught up in a web of self-surveillance that is indicative of a larger cultural/ political phenomenon. Enter Ars Electronica. Every September, for over 25 years, the Linz, Austria-based new media art center has organized one of the most important international conferences focused on art and technology. Each year includes an academic conference, in tandem with a major art festival and a series of very ambitious public installations. These are always focused around a particular pressing theme and this year's is, not surprisingly, 'Goodbye Privacy.' From September 5-11, dozens of artists, critics, scholars, and media activists will gather to comment not only on the increasingly pervasive threat to privacy, in contemporary culture, but also on the ways that this notion is represented in contemporary art. If you're at all interested in intersections of art, politics, and technology, make your plans now to sneak away to Austria. - Marisa Olson